Album Review: Bass Evolution by Barry Green, Worth Gardner, and Gary Barton
Alright, let’s talk about Bass Evolution. It’s one of those albums that feels like it doesn’t wanna be boxed into just one genre. Released back in 1979 (yeah, disco was still a thing), this record sits at the intersection of classical music, education, and something kinda experimental. It’s not your typical sit-back-and-relax album—it’s more like an auditory textbook with personality.
The team behind this project is wild. You’ve got Barry Green on double bass, Worth Gardner flexing his arranging chops and tickling keys on both piano and harpsichord, and Gary Barton narrating as if he’s telling you bedtime stories but for nerds who dig history. And props to Geraldine Sutyak on cello and Jack Waldenmaier on synths/effects for adding layers I didn’t know I needed. The whole shebang was put out by QCA/Red Mark—a label probably known only to vinyl collectors or people lost in rabbit holes of obscure music trivia.
Now, onto the tracks. There are ten songs total, each tied to different periods or ideas in music history. Two stood out to me immediately: “Emerging Identity” and “An Awkward Child Of The Baroque.”
“Emerging Identity” kicks things off strong. It starts soft, almost hesitant, like someone tiptoeing into uncharted territory. Then BAM—the bass comes in, deep and resonant, setting the stage for everything else. It’s weirdly comforting, like watching a sunrise after pulling an all-nighter. This track sticks because it sets the tone—not just musically, but emotionally—for what follows. You can tell they weren’t messing around when they crafted this piece; every note has purpose.
Then there’s “An Awkward Child Of The Baroque.” Man, this title alone made me chuckle. Musically, it lives up to its name. Picture a kid trying way too hard to impress their parents at a family recital—lots of fumbling energy mixed with raw talent. The harpsichord steals the show here, clinking away while the strings swirl around it like overenthusiastic cheerleaders. By the time the timpani joins in, it’s clear this isn’t just background noise—it’s storytelling through sound. I couldn’t stop humming bits of it hours later.
What makes Bass Evolution special is how unapologetically niche it is. Sure, some might call it pretentious, but honestly? That’s part of its charm. It doesn’t try to cater to everyone. Instead, it leans fully into its educational vibe without being boring. If anything, it’s like listening to a lecture from your favorite teacher—the one who cracks jokes and makes even the driest topics engaging.
And hey, fun fact: did you notice Rebecca Green playing violin alongside Andrew Zaplatynsky? Small world, huh? These little details make the album feel less like a sterile project and more like a group of friends geeking out over shared passions.
So yeah, wrapping this up… Listening to Bass Evolution felt like stepping into a time capsule filled with quirky ambitions and big dreams. It reminded me that sometimes art doesn’t need to fit neatly into categories—it just needs to exist, bold and unfiltered. Honestly, I kinda wish they’d drop a remix version today. Imagine these tunes remastered with modern beats? Wild thought, right?
