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    The coolest of cats

    Friends share memories of Houston musician Scott Gertner, who died this week

    Craig D. Lindsey
    May 2, 2025 | 5:30 pm
    Scott Gertner
    Courtesy Cindy Gertner

    Scott Gertner, one of the most prominent figures in Houston’s music and nightlife scenes, has unexpectedly passed away.

    A brief statement by the musician’s family did not share a cause of death. It thanked people for their condolences, asked for privacy, and stated that funeral details would be shared soon. [Update: A representative for the family tells CultureMap that Gertner died of natural causes. He will be buried on Monday, May 5.]

    Gertner was, without hyperbole, the coolest of cats. As a multi-talented, thrice-Grammy-nominated musician and singer, no one could resist his soulful stylings. As a nightclub owner, he knew how to open up the right spots at the right time. Before its closure in 2010, Scott Gertner’s Skybar was Montrose’s jazz temple in the sky, where people could check out live music while gazing at the stars. (Skybar also attracted celebs like Luther Vandross, Steve Harvey, and Shaquille O’Neal, so the stars weren’t just in the sky.) A decade later, he opened up Scott Gertner’s Rhythm Room on Memorial Dr., luring people in with live grooves and a mouth-watering menu.

    In my previous life as a nightlife reporter, Gertner was the person I usually contacted whenever I needed intel on jazz clubs in the city. (I also believe that, during one of these sitdowns, I surprised him one day with a 12-inch single he recorded in the late ‘80s for CBS Records, a lost item I picked up at a nearby record store.)

    But I know I’m not the only person who has sparkling memories featuring Gertner. I reached out to a few friends and asked them what they’ll remember the most about the late, great, swaggerific impresario:

    T.J. Callahan, film critic/radio personality: “We had many fantastic CBS Radio Houston Christmas parties at the Skybar. Scott was always the most gracious host and fun performer.

    “Also, two of my close friends went to high school at HSPVA with Scott. They are all musicians. During our college years, Scott was playing at the old Ruggles on lower Westheimer, back when everyone cruised that area on the weekends. Every time we passed by the restaurant, my friends and I would scream ‘Gertner’ out the car window, like he was going to hear us and come out and say hi. Hey, we were 18. The boys were so excited Scott had a real gig.”

    Russell V. Guess, music producer/former Skybar bartender: “When I tell you I wouldn’t know half the people I know — I wouldn’t have made a good deal of the money I’ve made in my life — and not have had many of the experiences (too many!) that made me who I am if not for this man, it isn’t an exaggeration at all.

    “But there’s so much more to remember about the guy. A true artist, bandleader, music lover, and businessman. I soaked up so much game about music and nightlife, a course more valuable than any class I could’ve taken. To know him personally was a privilege not to be taken lightly; he’d hit you with that smile that always said everything his words didn’t. Always the encourager, he supported me in and outside the nightlife. Even after I stopped working for him, we’d still text each other on our birthdays since they were 11 days apart. I was always welcome wherever his venue was located and, if he was there, that smile and a hug was soon to follow.”

    Mark Towns, jazz guitarist: “One of the first times I heard Scott play was back in the heyday of Cody’s, when he was on bass and vocals with Paul English’s incredible band. That group was something special — Paul on piano, Kirk Whalum and Johnny Torres on saxophones, and Scott bringing his unique energy and voice to the mix. The vibe was electric at those shows.

    “Later, Scott held down Wednesday nights at Cody’s in the Village, and those nights became legendary. It was the hottest night of the week, and, as the story goes, Scott was making more money that one night than the club owner was making all week. That’s the kind of draw and charisma he had.

    “From there, Scott opened the Skybar at the original Cody’s location on Montrose, and I was honored when he hired my Flamenco Jazz trio to play a Wednesday night series there, sponsored by The Wave radio station. We alternated Wednesdays with Joe Carmouche’s excellent trio — great times. He also was the gracious host for the CD release party for my first album, Flamenco Jazz Latino, at Skybar.

    “Back in the late 1980s, way before Skybar and those Village Cody’s Wednesdays, Scott and I played together at the legendary Blues Jam with Ardis Turner (RIP) at Live Bait on Greenbriar — me on guitar and Scott on bass. Too bad there are no recordings of that. We had some wild jams.

    “There was a weird kind of synchronicity with Scott — I’d run into him all over Houston, at all hours, in the most random places. It happened often. The last time I saw Scott was at the Rhythm Room last year. We ended up talking for a long while. He was extremely interested in hearing details about some health issues that I had firsthand knowledge about.

    “Scott was a great singer, a great guitarist, a great bassist, and a powerful presence on stage and off. As a performer, a businessman, a leader, and a cultural force, Scott Gertner enriched Houston’s music world. I’m grateful our paths crossed.”

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    Movie Review

    New comedy I Want Your Sex saddles an all-star cast with a dull story

    Alex Bentley
    Jul 31, 2026 | 2:15 pm
    Cooper Hoffman and Olivia Wilde in I Want Your Sex
    Photo courtesy of Magnolia Pictures
    Cooper Hoffman and Olivia Wilde in I Want Your Sex.

    Writer/director Gregg Araki has been making provocative movies for nearly 40 years, releasing his debut — Three Bewildered People in the Night — in 1987. Most of them have had plotlines that revolved around sex in one way or another, and for his latest — his first film in 12 years — he’s putting it right there in the title, I Want Your Sex.

    Elliot (Cooper Hoffman) is an aimless twenty-something who can’t even afford the rent for his apartment with best friend, Apple (Chase Sui Wonders). Thankfully, he finds a job at the gallery of artist Erika Tracy (Olivia Wilde), who is open with her sexuality both in her artwork and in her day-to-day life. That soon includes Elliot, whom she convinces to enter into a dominant-submissive relationship with her, with sessions taking place both at work and her home.

    Elliot, who’s in a going-nowhere coupling with Minerva (Charli XCX), is more than willing to participate, both because it lets him feel something he doesn’t get normally and because Erika offers a perspective on sex that’s much different from people of his generation. But as he gets in deeper with her, he starts to lose a sense of himself, going down a path in which he finds himself talking to police detectives Zem (Johnny Knoxville) and Zola (Margaret Cho).

    Araki does his level best to make I Want Your Sex into a broad comedy, and early on it seems as if he might succeed. The deadpan way that sexual objects appear in the film (a penis-shaped rug in Elliot and Apple’s apartment, a vagina artwork with chewed gum as the medium) make for amusing sight gags. He also makes Elliot the bewildered other in multiple twosomes, with Minerva being the funniest, as she’s way more interested in studying than his ham-fisted attempts at sex.

    It’s clear that Araki wants the film to be a commentary on the generational differences about sex, but he fumbles his own idea. It starts with an on-the-nose conversation between Erika and Elliot, and continues with the various dalliances, which seem to be more about making Elliot look and feel ridiculous than giving true insight. Their encounters certainly open his mind about what sex can be, but their one-note nature makes them repetitive and frankly boring, odd considering the acts in which the two engage.

    The uninspired storytelling makes the 90-minute film drag way more than it should. Araki includes a few other characters to try to vary the tone of the film, including gallery workers Zap (Mason Gooding) and Vikktor (Daveed Diggs), but their early promise yields little results. The framing device of Elliot’s interview with the detectives never works, especially because Araki completely neuters the personalities of Cho and Knoxville for seemingly no good reason.

    The cast as a whole goes to waste. Hoffman is showing the promise of his late father (Philip Seymour Hoffman), and even though he’s appealing here, the material pulls him down. Wilde just made her own provocative movie about sex (The Invite), and this one pales in comparison despite her heightened performance. Wonders, Charli XCX, and Gooding are all young stars who deserve to be showcased much better than they are in this film.

    A film called I Want Your Sex is announcing itself as daring and alluring, but this film contains almost none of those qualities. Instead, it’s a slog that only occasionally has something interesting to show or say, mostly relying on the power of its actors to hold viewers’ attention — and failing at even that.

    ---

    I Want Your Sex is now playing in select theaters.

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