Jazz man Steve Barta certainly cuts his own path.

He’s performed as a pianist all over the country and Europe; recorded widely, including solo and collaborative efforts; and garnered international acclaim as a composer – for groups as diverse as symphonic orchestras, string quartets, jazz ensembles and TV commercials. His latest work blends American and Brazilian jazz into something new, yet loaded with classical influences.

And on Saturday, Barta makes a rare appearance as a solo performer on a Colorado Springs stage.

“I’ve not played a solo concert in at least 15 years. I simply felt it was time to step out into a different element. I’ve been writing-arranging on two different projects for orchestra for quite some time, and I wanted to step out of my element,” he says. “Change it up, challenge myself artistically. Playing solo is a whole different situation. There is no quartet, no string section, no orchestra. It’s just me and the piano. It opens the soul on a different level.”

Here Barta talks about his belief in self-study, the importance of silence and the influence of Herbie Mann on his new sound.

The Gazette: When did you start playing the piano?

Steve Barta: I played as a small child for a short time, but did not really get serious about piano studies until after college. I really consider myself educated more from the “street side” – lots of reading, studying, putting myself out in live situations and learning through live performance. I did private study for a time with Ted Alexander, who is a legend in the world of jazz studies in the Denver area. I was quite fortunate to spend one-on-one time with Ted to help pull all my private study together. I’ve always tended to gravitate towards one-on-one study. That is the approach I’ve always felt most comfortable with.

Gazette: Where did you get your start as a professional musician? How has your career changed and progressed from where you started?

Barta: I got my start after I left college. I chose a path of “self-study” that I alluded to in the first question. My career is always changing, progressing. Pretty much a reflection of my life – always in change. There have been so many aspects to my career over the years – Writing radio and TV spots, string quartet, solo piano, choral, chamber orchestra, symphony orchestra, jazz trio-quartet. I had a long association with flutist Herbie Mann which certainly influenced my writing and who I was recording with.

Gazette: Tell me about composing. What’s your process like?

Barta: There are times I need complete silence and yet there are times I can write with complete chaos around me. My environment is quite important. (I have) simple needs really: a good instrument that is in tune, plenty of paper and pencils. … Another aspect is my mindset during the composition process: Don’t question what comes to me. If I can stay out of my own way and not question what I hear, and simply write it down with no self-doubts, that is really the best for me. That’s the short answer.

Gazette: Who has been your biggest influence during your career?

Barta: There is no one person, so I’ll list the first few that come to mind – all for different reasons: Keith Jarrett, Bill Evans, Herbie Mann, Kim Stone, Paulinho Da Costa, Dori Caymmi, Hubert Laws, Lee Trees. I’ve been fortunate to work with most of my career influences.

Gazette: How did the sounds of Brazilian jazz make its way into your sound?

Barta: They crept in slowly. I’m not really even sure at what point it started when I think about it. My work with Herbie Mann certainly had a strong influence in that area.

Through Herbie I met Dori Caymmi, Paulhino Da Costa and so many Brazilian musicians.

Gazette: At what moment did you realize you had “made it” as a jazz musician?

Barta: “Making it” persay, has many aspects to it. I’ll speak to one of them: I will say that it is nice to arrive at a place in my career where I am working with truly great musicians. … The people that I’ve listened to for years have influenced my work in profound ways. It is a nice place to be. Getting there is also something I’ve not done solo. It’s happened with lots of support from many friends who have believed in me over the years.

Gazette: So what’s next?

Barta: The latest project I’m currently involved in is called, “Jumpin’ Jazz Kids – A Swinging Jungle Tale”. It is an incredibly special project. One of my partners, Mark Oblinger, wrote the music and storyline. Mark and I wrote the arrangements and I wrote all of the orchestrations. My other partner, John Street, is the executive producer of the project. It’s scored for jazz quintet, narrator and full orchestra. Guest artists included Al Jarreau, Hubert Laws and Dee Dee Bridgewater. Its target audience is kids (4-8) and family. We played with the Milwaukee Symphony Orchestra this past March and everyone just loved it!

Steve Barta, left, and Al Jarreau Photo by Photo courtesy of Steve Barta