Bruce W. Melzer performing at Schell's Brewery. Photo submitted by Tony Berg

NEW ULM — Earlier this month, New Ulm lost one of its most versatile musicians.

Bruce W. Melzer died at his home in New Ulm on March 13 at age 79.

Melzer was known as the ultimate utility player. He served as bassist and vocalist whose technical versatility earned him the reputation of a musical chameleon.

Whether anchoring a set with the band Van Gogh’s Ear or stepping in as a recurring guest with the Bockfest Boys, Melzer was a fixture of the New Ulm scene defined by his ability to seamlessly integrate into any ensemble.

Melzer’s professional foundation was built on the road. Following four years in the U.S. Navy, he spent several years touring the United States and Canada with a professional show group. This era provided him with a vast repertoire and a road-tested reliability that became his trademark upon returning to Minnesota.

Fellow musician Tony Berg, who first performed with Melzer through Van Gogh’s Ear, recalled a player with a sophisticated ear and an innate sense of harmony. 

Berg highlighted Melzer’s rendition of “Feelin’ Alright” as a standout, noting the depth and feeling he brought to the vocal performance.

“He could harmonize anything,” Berg noted, adding that Melzer’s dependability was his greatest asset. “If you called, he would fill in and always gave a top-notch performance. I saw him sit in with bands he’d never played with before and nail it.”

On stage, Melzer’s presence was marked by an engaging, often humorous persona. 

Scott Sparlin, a frequent collaborator over the last two decades, described him as a solid and dependable anchor who understood the nuances of entertaining.

Sparlin remembered Melzer’s signature Cajun-style “Heyeeee!,” a vocal cue he used to bridge gaps in a set and maintain a connection with the audience during live performances at venues like Turner Park and Schell’s Brewery.

That sense of humor often bled into the music itself. Berg recalled Melzer’s penchant for improvising lyrics on the fly, a trait that kept both his bandmates and his audiences engaged. 

Beyond the electric bass, Melzer’s technical life was tied to the piano; he operated a long-standing tuning business, maintaining instruments for local churches, senior centers, and private residents across the region.

As a musician, Melzer prioritized the collective sound over the individual spotlight. His peers remember a performer who could pick up a melody in any key by ear, providing a professional “bottom end” to the New Ulm soundtrack for over a quarter-century. 

As Berg reflected on his long-time collaborator: “We have lost a talent.”

A private memorial for Melzer will take place this summer.