There's no telling what characteristics in a piece of music will draw us to its creator. What was it about Coltrane’s playing or the way Bill Charlap maneuvers around the keyboard that certain people (myself included) find so compelling? Such intangibles are what make the arts – fine, performing and otherwise – endlessly fascinating.
Of course, it’s also worth noting that the aforementioned characteristics need not be solely sonic. Many a teen idol has sold millions based on their good looks and never discount the appeal of a compelling video or clever album cover.
All that is by way of me confessing I was not initially drawn to the Mitch Marcus Quintet by its music. Rather, it was the leader’s alma mater.
It seems that Marcus, center above, attended Indiana University which, in my house at least, is referred to as the finest center of learning yet devised by the human mind. (I am, as you might infer from that statement, a proud graduate.)
That natural favoritism, then, led me to explore the quintet’s sound, a bracing mélange of jazz styles and substance. You can hear samples on the group’s MySpace or catch the band live. You’ll have multiple opportunities to see the busy saxophonist in the coming days as he plays with other groups Aug. 20 in Sausalito and Aug. 21 and 23 in San Francisco. Better yet, be on hand Aug. 24 as the Mitch Marcus Quintet headlines Yoshi’s in San Francisco to celebrate the release of their album “Countdown to Meltdown.”
Here’s what Marcus had to say about his band, its sound and a recent engagement at Smalls in New York. As for the first question, you’ll just have to excuse a couple of Hoosiers discussing the glories of ol’ IU.
Question: Let's talk about the band’s years in Bloomington. How did you all come together initially? How much emphasis was placed on jazz at IU's School of Music during your tenure?
Marcus: Myself and Sylvain Carton (alto saxophonist/composer) started the MMQ in Bloomington some time ago, 1997 to be exact. Our early gigs in Bloomington were mostly at the Thursday jazz series at Bear's Place. We did a lot of shows with the big bands (David Baker, Dominic Spera, Tom Walsh) at the IU Musical Arts Center and some festivals and other venues in town as well. We'd originally met through the Music School and – along with other fellow Bloomington folks (who are also in SF/Oakland) – formed the Japonize Elephants. The Elephants used to be regulars at Second Story, Bluebird, the Wild Beat, etc.
The IU Music School is an unbelievable institution; it was an invaluable experience. The focus there is largely on the classical and opera department (but) there’s also a huge emphasis on jazz. I tried to take part in all I could. I've always been a huge classical music person as well – I’ve studied classical piano since I was 8 or 9 – and opera too. My wife and I also met there – she was a ballet major. Studying music at IU and all the experiences I had in Bloomington contributed in no small part to who I am today.
Question: Suffice it to say, the quintet's approach to jazz pulls from any number of influences and crosses just as many boundaries. Rather than ask the straightforward question about influences, let me do it this way: What is the composing process like for the band? Does it begin with melody or a riff? How do pieces evolve during the rehearsal process?
Marcus: It's different every time. Usually, we all will bring in different sketches at varying degrees of being finished and then add (or take away) parts of the existing arrangements depending on what works at rehearsal. I usually write at the piano and then at some point switch to saxophone or vice-versa. I try to not have too many expectations going into the composing process and therefore end up with something quite different every time.
Sometimes it starts with melody, sometimes a rhythmic idea in my head, sometimes a chord progression, sometimes a weird sound. It's all over the map! Usually, once we bring in pieces to rehearse, they change quite drastically – sometimes a bass line I will write will not be nearly as intuitive as what George (Ban-Weiss) will come up with or a line I'd written for saxophone
that I wouldn't have thought playable on guitar Mike (Abraham) will play as if it's nothing. And then, just like that, the piece sounds totally different.
Another example is from a tune off of our new record, the title track "Countdown to Meltdown." We were playing down the piece and learning it as a group and we came to a part that moved by really quickly – what's become known as the "meltdown" section – (and) we decided we liked that part a lot and it wouldn't get its full worth since it came and went within a few seconds. So we decided to repeat it eight times and have the drums and guitar go berserk behind the melody and it actually became a focal point and peak of the whole tune. Had we not stopped and changed it right then at rehearsal that probably never would've happened.
Question: The album is obviously a milestone for the band. What does it mean for you to play Yoshi's? Is it just another gig or something particularly special?
Marcus: We're very excited about this new record. The band is in so many ways unique in that it's very much a band, not a different group of musicians getting together and reading down tunes. We've been playing together for a long time and have developed a great band dynamic. All the players add to it in their own unique way but what comes out in the end is very much a group sound.
Yoshi's is definitely not just another gig. We've played there a bunch of times and each time has been very special. This is our first time at the new S.F. Yoshi's, so we're looking forward to that.
Question: The band just played Smalls in New York. What was that show like and, perhaps more importantly, how did it feel to be among those thousands of jazz artists who have over the decades taken their talent to NYC?
Marcus: I've recently moved to New York after being out here for 11 years. Each time the group has performed there, we've had a great response to the music. It is an incredible thing to be part of such a storied tradition and you really feel that it New York. Both myself and our drummer Tomas Fujiwara are both based out that way, so I guess we're a bi-coastal band now.
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