Bruce Gertz: Octopus Dreams

Veteran bassist and composer Bruce Gertz, who has more than 20 albums under his belt in a career spanning more than half a century, wrote and arranged every number on his latest recording, Octopus Dreams, wherein his skills in every realm are essential to its outcome.

As a bassist, Gertz is sharp and perceptive; as a composer, quite capable within his area of preference, which basically encompasses contemporary post-bop jazz. In other words, Gertz writes well without composing any themes that spark more than a passing interest. That is not meant to imply that his originals are less than engaging, simply that they reside on the same level as many other such enterprises; good, but rather less than innovative or surprising.

Gertz's teammates are also good at what they do but again, they are less than exceptional—more like competent. The front-liners—trumpeter Phil Grenadier and tenor saxophonist Rick DiMuzio—provide no cause for censure, nor do pianist Gilson Schnachnik or drummer Gary Fieldman, who round out the rhythm section. They are experienced musicians who welcome whatever is asked of them and give every assignment the best they have to offer.

While there are moments of incentive and pleasure on almost every number, the lion's share of what is presented on Octopus Dreams is more moderate than exceptional. That is, however, no more than one writer's opinion; other listeners may reach a far different and more favorable (or perhaps unfavorable) conclusion.