Michael Marcus

by Laurence Donohue-Greene

G21 Jazz & Improv Critic

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Only a few household names have arisen within the last few decades when one mentions "Jazz". These names are, of course, in the esteemed company of Duke, Monk, Louis, Bird, Diz, Miles, Trane, and the like. Whether the addition of someone like Wynton Marsalis is to the benefit or detriment of Jazz-kind on the whole is a debate that will keep many critics busy for years to come.

One thing is for certain, though. The exclusion of names such as Cecil Taylor, Albert Ayler, Anthony Braxton, Andrew Hill, Steve Lacy, Horace Tapscott, Muhal Richard Abrams and the Art Ensemble Of Chicago (amongst quite a few others) has only limited jazz's true scope of diversity in the eyes and ears of potential and avid jazz listeners and appreciators alike. In addition, what about the musicians of today and of the past few decades, for that matter, who grew up listening to and being influenced by the music of the aforementioned?

It would be like a whole generation lost without an Ayler or Braxton. Without true acknowledgement of their contributions to the music of jazz, it certainly does not make for an easy path of recognition (let alone way of life) for musicians today who hold these unheralded pioneers of the music in the highest of regard.

One such musician of today who has not had his due is multi-reedman Michael Marcus. One of his idols and influences is Rahsaan Roland Kirk, a musician generally disregarded by critics as a novelty act. This because he was primarily a one man reed section performing on three to four horns plus a whistle simultaneously. Marcus' own path to success and recognition consequently has been made that much more difficult.

It is almost the 10th anniversary of Michael Marcus' debut recording as a leader, "Under The Wire" (Enja), and over two decades since his first recordings as a sideman. Back in the early 1980s he recorded a hard to find session for the Japanese RCA label with bluesman Hi-Tide Harris (the very same Harris who did the soundtrack for the movie on the legendary blues guitarist and vocalist, Leadbelly.) The recording also features trumpeter Eddie Henderson and reedman Sonny Simmons.

Soon thereafter, Marcus, along with the legendary and recently departed drummer "Smilin" Billy Higgins, contributed to "Backwoods Suite" (ITM-West Wind) under the leadership of Sonny Simmons. Marcus has basically been affiliated with Simmongs since his first appearances on record. Now with eight recordings under his belt as a leader and a few more on the way, Marcus is by no means a newcomer.

The indebtedness to Roland Kirk is obvious. Both Kirk and Marcus mastered the unique members of the saxophone family in the stritch (a modified version of a straight alto saxophone) and manzello (a modified version of the saxello.) Both instruments were given their official names by Rahsaan himself. Marcus has actually recorded on both horns (separately and together ala Rahsaan and the under-appreciated Blue Note recording artist from the 1960s, George Braith -- who happens to be another major influence on Marcus.) "Paying homage and respect to Rahsaan" (in Marcus' words) on the title track for the Kirk tribute disc from 1998, "Haunted Melodies" (Metropolitan Records). Marcus has been closely associated both in the recording studio and in concert with two significant Kirk alums, Jaki Byard (who died in 1999) and most recently Rahn Burton. Burton is on Marcus' last two Justin' Time recordings, "In The Center Of It All" and" Sunwheels". Like Kirk himself, Marcus should not be disregarded as a circus act or flash in the pan. The similarities between the two musicians end there, however.

Marcus has created a voice for himself with the combination of his personal phrasing and unique tone, as well as his originality as a composer. An astonishing 62 out of a total 73 compositions which Marcus has recorded as a leader have been originals. In a day and age when many musicians rely on standards, regurgitating them one too many times, it's a relief for sore ears to hear the rare breed of a musician who can play and write. They are really quite separate art forms unto themselves when you get down to it.

Many great musicians of today, and of the past, could never write good original music -- or maybe it's the mediocrity of it which makes it seem so unoriginal, making you wish they'd skip the head and go right into their solos. They are interpreters or, simply, great musicians.

Surely no one took anything away from the incomparable Art Blakey who relied upon his own group members to supply the compositions for his various editions of the Jazz Messengers. Blakey created a few examples of this rare hybrid of player/composer in the likes of Jazz Messenger alums: Wayne Shorter, Lee Morgan, Benny Golson, Bobby Timmons, Cedar Walton, and Hank Mobley, to name but a few.

And then there are the composers and arrangers of the jazz world who have the instinct and foresight to concentrate on their respective talents in regards to the music (i.e. writing and arranging versus playing): Gil Evans, Duke Ellington and more recently Maria Schneider and composer/conductor/arranger Lawrence "Butch" Morris-all have never needed to play to leave their mark in the history of jazz.

So, Michael Marcus is of this rare breed. Not only is he instantly recognizable by sound, but his compositions immediately hit you, complementing his playing as if it were one. Who needs the springboard of a jazz standard, when you can supply and apply the trampoline yourself! And as an improviser, Marcus spontaneously musters up instant chestnuts (which for all we know, and only time will tell, may end up as classics), especially and interestingly enough in the duo setting. Check out "Moonvoices" on his latest recording, Sunwheels, which features Marcus with the legendary Cuban percussionist, Carlos "Patato" Valdes. "Feels Like Home" and "Into Nowheresville" are also played as successful off-the-cuff duets, the first with bassist Steve Neil and the latter with drummer Cindy Blackman (both tunes from his 1996 Reachin' release.) His stritch work with the late percussionist, Charles Moffett, on Marcus' composition, "In The Arena" (found on Sonny Simmons' 1996 recording, Transendence) is indeed transcendent to the level of what John Coltrane and Rashied Ali left us from their more than memorable Interstellar Space sessions from 1967.

I recently witnessed a timeless duet Marcus performed live with trombonist, percussionist, and Ethnic Heritage Ensemble member Joseph Bowie here in New York at the Knitting Factory. Stripped to the basics, the bare essence of improvisation revealed itself with both players interlocking and interweaving around one another through extended periods, as the music seemingly hovered above all our heads. They relentlessly continued to turn the music up a notch as if to throw one log after another on top of the proverbial fire. The duet setting is truly jazz at its most vulnerable yet explosive and ground-breaking state, and Marcus not only steers clear of cliches, but gets right to the root of what makes jazz such a unique art form. And, speaking of Marcus and duets, I mustn't forget to mention the session he recorded exclusively with Jaki Byard, entitled This Happening, on which Marcus is heard on bass clarinet, stritch, and saxello. There is an amazingly memorable medley rendition of Coltrane's "Giant Steps" and "Naima" , not to mention the other seven of eight remaining compositions, which you guessed it.are all originals by Marcus.

And as far as ensemble playing, Marcus without a doubt has these credentials to boot, as well. He is a member of Jemeel Moondoc's Jus' Grew Orchestra, which finally has been documented for the very first time ever, now nearly two decades after its inception (thanks to Eremite Records). Marcus is also a charter member and contributing composer for the group Saxemble, a collective which has recorded two sessions featuring fellow reedmen James Carter (who is, himself, going nowhere but up!) and tenor saxophonist Frank Lowe (remember Lowe's groundbreaking Black Beings ESP free jazz recording from the early 1970s with Art Ensemble Of Chicago bandmember, Joseph Jarman, as well as bassist/composer/ bandleader William Parker?!). Marcus' latest project is as a member of the leaderless group, Cosmos Samatics, featuring his musical brother Sonny Simmons (alto saxophone and English horn), William Parker (who has previously recorded with Marcus on Here At! and Under The Wire), Jay Rosen (drums), and special guest as well as fellow Saxemble bandmate, James Carter. Keep an eye out for this release within the next six months via Boxholder Records, which is an up and coming indie label (in its debut year, it already boasts over a dozen titles of creative improvisational music and jazz).

Marcus has surrounded himself with musicians who have had and continue to have something to say in the world of improvisation and jazz in general. Some day, not only will they (speaking of veterans Sonny Simmons, Jaki Byard, Frank Lowe, and William Parker whom Marcus has collaborated with over the years) get the recognition they so rightfully deserve as true individuals of this music (label it as you may)-but Michael Marcus, too, will or at least should get his due. Whether in their lifetime or not, we'll leave that up to you as listeners and supporters of the music and hope the critics eventually catch on.

Keep your ears open to the music,
Laurence Donohue-Greenee


A selected discography:

• Michael Marcus - Under The Wire (Enja), 1991
• Michael Marcus - Here At! (Soul Note), 1994
• Michael Marcus - Reachin' (Justin' Time), 1996
• Michael Marcus/Jaki Byard - This Happening (Justin' Time), 1997
• Michael Marcus/Jaki Byard Trio - Involution (Justin' Time), 1998
• Michael Marcus - In The Center Of It All (Justin' Time), 1999
• Michael Marcus - Live In N.Y. (Soul Note), 2000
• Michael Marcus - Sunwheels (Justin' Time), 2001
• Saxemble - Saxemble (Qwest/Warner Brothers), 1996
• Sonny Simmons - Judgement Day (CIMP), 1996
• Sonny Simmons - Transcendence (CIMP), 1996
• Jemeel Moondoc's Jus' Grew Orchestra - Spirit House (Eremite), 2001