Alright – so today we’ve got the honor of introducing you to Marlon Martinez. We think you’ll enjoy our conversation, we’ve shared it below.
Marlon, so good to have you with us today. We’ve got so much planned, so let’s jump right into it. We live in such a diverse world, and in many ways the world is getting better and more understanding but it’s far from perfect. There are so many times where folks find themselves in rooms or situations where they are the only ones that look like them – that might mean being the only woman of color in the room or the only person who grew up in a certain environment etc. Can you talk to us about how you’ve managed to thrive even in situations where you were the only one in the room?
To succeed in music professionally, never give up on your dreams and your inspirations, even if there is no current blueprint for your venture. My experience as a professional musician, composer, performer and educator has taught me that today’s music business is one in which you must carve out your piece of the pie — get what you want out of it. Other people, no matter how much more connected they can be, might not open those opportunities for you. You have to take initiative first, before they come to you. Set your eyes on your interests, go after the specific people that will take the time to listen to your music, and keep trying when obstacles knock you down temporarily.
What has driven me all this time is my love for the music I do, and the conviction I have about my visions. In my mind, I see a place for what I create, and a population that will appreciate it. One example is my love for jazz composer Billy Strayhorn, and how my special interest has opened a wide door of possibilities for me.
I grew interested in the life and music of Billy Strayhorn (1915-1967) over the past 8 years. He contributed so much to Black American music, and American popular music, through his tenure collaborating with jazz icon Duke Ellington. However, his name, personal life and achievements remained obscured from the public eye, who were fixated on the success of Duke Ellington. 30 years after Strayhorn’s death, a resurgence of Billy Strayhorn research and music began to take shape. I noticed no millennial/young ensemble has taken serious steps to perform Strayhorn’s original orchestrations regularly. I had a vision that my big band, Marlonius Jazz Orchestra, would become the go-to millennial ensemble that revives original Billy Strayhorn music around the greater Los Angeles area, and beyond. My obsession for Billy Strayhorn planted a seed of resilience, nurtured by research and networking, which further realized my vision.
In 2018, I got connected with Alyce Claerbaut, president of Billy Strayhorn Songs, Inc. through an acquaintance at the Colburn School, a prestigious institution I graduated from with my Masters degree in 2015. I took a few brave steps: first I overheard him talking about his collaboration with Alyce, so I asked to be introduced. Then I mailed my debut album to her and explained my passion for Billy Strayhorn and my desire to help keep his legacy alive. As I persisted in communicating with Alyce, I began performing a few Billy Strayhorn works that are publicly accessible with my big band. I would regularly update Alyce with videos and social media posts about my work.
Then Covid-19 hit. There was no work for me, all my concerts were canceled, my industry tanked for a long time. I felt the uncertainty of ever coming back to the stage, I was burned out, and I had to reflect on why I do music for a living and decide on what I was going to do with music from that point on. I decided that studying Billy Strayhorn during the pandemic, and continuing my conversations with Alyce and expert scholar Walter van de Leur, would keep me focused on my original goal, no matter what the outcome of the pandemic would be. Eventually my efforts earned me permission from Billy Strayhorn Songs, Inc to access legendary music materials from the Library Of Congress for personal study and further execution of my Strayhorn mission.
I did realize that my special interest created an uncommon pathway that my colleagues were not taking. I felt like I was discovering a niche that might not be popular, but I knew I needed a platform that would make my vision known. Then the Colburn School stepped in.
I submitted an application to the Colburn School’s New Venture Competition in the summer of 2020. My pitch was about keeping Billy Strayhorn’s legacy alive through live performances of Billy Strayhorn compositions. Fortunately I won the money prize which helped me obtain sheet music I needed. But I was not expecting what came after the competition: the President & CEO of Colburn School, Sel Kardan, informed me that the Colburn School had been following my interest in Billy Strayhorn for several years, and they selected me as an artist-in-residence for their new initiative the Amplify Series. This series celebrates the music of BIPOC artists. Billy Strayhorn, being a black composer, would be the perfect fit for their inaugural Amplify Series. I was ecstatic at the opportunity, as I knew having the Colburn School back my vision would give me new opportunities to bring my Strayhorn tribute to life.
My Amplify Series residency lasted from 2021-2022. Colburn School funded a live performance of rare/lesser known Billy Strayhorn compositions with my band, an 8 episode lecture video series called Ever Up and Onward: A Tribute To Billy Strayhorn, and a recording session for my upcoming big band album Marlonius | Strayhorn, featuring Marlonius Jazz Orchestra. Since the Amplify Series, I have performed tributes to Billy Strayhorn, and have taken part in interviews and podcasts about my love for Billy Strayhorn. The word is coming out, and I’m finding that there are more people out there who believe in my vision than I expected!
Appreciate the insights and wisdom. Before we dig deeper and ask you about the skills that matter and more, maybe you can tell our readers about yourself?
I’m a professional musician that wears multiple hats. To most in the Los Angeles area, I’m a jazz musician. To others, I’m a classical musician. Those who know me best know that I perform classical and jazz interchangeably, and my experience has led me to play with very interesting cross-genre collaborations beyond both traditions. I’m a bass player, my main instrument is the double bass (aka upright bass). I’m also a jazz composer, and the leader of my LA big band Marlonius Jazz Orchestra.
I have toured the US and Canada with Stewart Copeland, the rock drummer and founder of The Police, in a rock-classical fusion band called Off The Score, co-led by classical concert pianist Jon Kimura Parker. I have toured with the classical string quartet Quatuor Ebène, as a guest bassist when they do their jazz cross-over concerts in Europe. I’ve also performed jazz and David Bowie tributes regularly with Mike Garson, known to most as David Bowie’s pianist, and an accomplished jazz artist.
As a classical musician, I graduated from the Colburn School Conservatory Of Music with my Masters degree in double bass performance in 2015. I’ve played with the San Diego Symphony, the New West Symphony, Verbier Festival Orchestra and others. I also play in studio orchestras in Los Angeles for TV and film. I’m also a member of Wild Up, a GRAMMY-nominated, new music/contemporary classical ensemble.
I’m an educator with teaching experience ranging from middle school to college. I currently teach double bass at California State University San Bernardino and The Bass Shed Academy at Lemur Music. My special interest in jazz icon Billy Strayhorn has led me to become a lecturer on his life and music around the greater Los Angeles area. I produced an 8 episode video series with the Colburn School on Strayhorn’s life and music called Ever Up And Onward: A Tribute To Billy Strayhorn, available on the Colburn School’s website.
I’m currently composing a multi-movement work dedicated to my muse, Audrey Hepburn, for my big band. The piece is called the Audrey Hepburn Suite, and parts of it are being performed around Los Angeles with Marlonius Jazz Orchestra. My band’s next concert is February 22nd, 7pm at Herb Alpert’s Vibrato Grill & Jazz.
One of the fun aspects of playing music professionally is getting the chance to work on TV and movie sets. I’ve worked on a few commercials and films as a sideline musician, and I love collaborating with actors, camera crew, set designers and makeup crews. It is a rewarding experience to see the final results on the big screen.
My second album, Marlonius | Strayhorn, introduces Marlonius Jazz Orchestra and is coming out this spring – the exact date is TBA. Check my website and Instagram account for updates!
There is so much advice out there about all the different skills and qualities folks need to develop in order to succeed in today’s highly competitive environment and often it can feel overwhelming. So, if we had to break it down to just the three that matter most, which three skills or qualities would you focus on?
Looking back, I realize that studying classical music and traditional technique has really informed my general playing ability and artistic execution on my instrument. Everything I learned as a classical bassist has given me greater precision, sustain, and articulate musical phrases that people can latch onto when they hear me play jazz. Classical composers and famous compositions have inspired me to write my own colorful music. Examples of my favorite classical pieces: Daphnis et Chloe full ballet by Maurice Ravel, the Rite Of Spring by Igor Stravinsky, and Métaboles by Henri Dutilleux. I also love just about anything I’ve heard by John Williams.
The same is true in studying jazz: jazz music has informed my classical playing. Jazz at its core is the freedom of expression through improvisation. I’ve become a looser, more relaxed classical player because of my improvisational nature. Jazz is a large part of the Black American musical spectrum, and is the precursor to the pop styles people listen to today. I’ve become a more rhythmic and syncopated musician because of jazz, and that helps me understand rhythm and beat differently in classical settings. I also understand classical chords differently from the jazz language of harmony. Some of my ultimate favorite jazz musicians (from a much longer list): Billy Strayhorn, Duke Ellington, Herbie Hancock, John Coltrane, Joe Henderson, Wayne Shorter, Stanley Clarke, Freddie Hubbard, Thad Jones, Miles Davis, Tony Williams, Elvin Jones, Ron Carter…
A third area of knowledge that has been impactful in my journey is big band jazz. Big bands are large jazz groups that play orchestrated parts. Jazz used to be entertainment, often flashy and for dancing. Big bands were the catalyst for that kind of social engagement. Big bands have evolved stylistically to include all forms of jazz and even other genres. I’ve been inspired by the danceable nature of big bands and the many ways to compose for them. Big band jazz combines my love for classical and jazz because it is orchestrations written out, combined with improvisation.
My advice for young musicians on how to develop is to learn the kind of music that really excites them, even if it’s not common
or totally accepted. It’s these interests that really shape an artist. In jazz today, a lot of musicians don’t really study music before the bebop era, but I highly encourage young musicians to check out that history too, because there are a lot of musical surprises to uncover.
Alright so to wrap up, who deserves credit for helping you overcome challenges or build some of the essential skills you’ve needed?
The great bassist Stanley Clarke is someone I’ve always gone to for advice and looked up to. Since I was about 15 years old, Stanley has been a light in my life, showing me that anything is possible for a bassist who aspires to be a leader. I’ve learned from him to follow those interests of mine that excite me the most, the special interests that are least explored not only by others, but by myself. It’s a process of vulnerability, to release music that you love even if you are unsure others will understand it. The same process applies to playing my instrument. It’s okay and totally preferred to play a certain approach and style that you love most, even if you are unsure who will fully embrace it. But the more you be yourself, the more you stand out, the more in life you will enjoy, and others will begin to notice and appreciate that. Stanley has taught me lessons in finding my musical voice, how to be a performer and not just a player, and how to embrace my love for both classical and jazz. He opened my mind to possibilities I will forever explore in his footsteps.
Contact Info:
- Website: https://www.marlonmartinezmusic.com/
- Instagram: https://www.instagram.com/marloniusmusic/
- Facebook: https://www.facebook.com/marlonmartinezmusic
- Youtube: https://www.youtube.com/marlonmartinezmusic
- SoundCloud: https://soundcloud.com/marloniusmusic
- Other: https://music.apple.com/us/album/yours-truly/1272462270
Image Credits:
Samantha Godoy, Brandon Kou Massey, Martin Chalifour, Veronika Reinert
