Mark Rapp

Spotlight on an Emerging Artist: Mark Rapp (Part Two)

Artist Interview by: Veronica Timpanelli

Jazz Photo November 2008 - Part Two: THE JOURNEY

“Something in those musical vibrations hit me and had a very real effect on me. Even now as I think about it, I feel something churn inside me.”

Composer, trumpeter, didgeridoo player, Mark Rapp recently completed mixing his first record. Here, in part two of the interview he shares with JazzReview his musical journey.

JazzReview: How did your interest in jazz, and music in general, develop?

Mark Rapp: I did not grow out of a musical family or musical environment like most artists – the Marsalises, Nicholas Payton, Irvin Mayfield, Christian Scott, and others. I wasn't even aware of Louis Armstrong or jazz music until I was 18 or 19 years old.

I was a regular kid. I grew up in a loving, middle-class family in South Carolina, was raised by my Mother and visited Dad on the weekends - the all-American family. I got along with most everyone, got good grades, and played basketball and Nintendo religiously. Speaking of religion, I loved playing the descant parts in the hymnbooks at church on Sundays. That is the "frilly" part that weaved in and out and above the regular melody being sung by the choir. Perhaps that was my appetizer to improvisation and the catalyst to exploring music. Also, I really liked seeing people get happy and enjoy my efforts on the trumpet.

I do remember a very emotional moment when I was a little kid. I’m not sure how old I was, maybe 8 or 9 or 11. My sister took piano lessons for a short time and she was practicing a piece (I was later told) about a “choo-choo train” climbing up a hill. There was this low, rumbling bass line to it that seemed to repeat over and over again. I was sitting under the piano, right under all those rumbling low notes. For whatever reason, it hit me and it hit me hard. I was completely taken away by those notes. I jumped out of there and ran to my room crying. I remember my sister and Mom being confused and I was too young to know why I was crying; I can only guess, now, what it was all about. Something in those musical vibrations hit me and had a very real effect on me. Even now as I think about it, I feel something churn inside me.

THE TRUMPET

"...it's the sound, its regal presence, its inherent confidence and bravado -- I love it."

JazzReview: What about the trumpet appeals to you? Was it your first instrument choice?

Mark Rapp: The only thing that appeals to me about the trumpet is its sound. It certainly isn't its fickle nature or how difficult it is to play. If you miss one day of practice, you know it. If you miss two days, you and your dog know it. If you miss three days, everyone knows it. The trumpet is a very demanding instrument. But to me, it's the sound, its regal presence, its inherent confidence and bravado – I love it.

My first instrument of choice was the drums. As a sixth-grader, I went to an assembly held by the school that introduced the kids to the music teacher and I thought it would be a lot of fun to bang on the drums. But, the teacher tried me out on trombone, and then, the trumpet. I liked the smaller trumpet mouthpiece, so that is what I got. And I just kind of started playing. I remember nothing of the experience. In seventh grade, I quit. But a month or so later, I came back to it. I’m not sure why, but I rejoined the school band.

My interest and love for playing the trumpet grew very slowly throughout high school and perhaps by my 2nd year of college, I was becoming more focused and realizing just what it was I wanted to do in life.

I initially went to Lenoire-Ryan college on a good music scholarship; however, I withdrew after a couple of months, moved back to Florence, South Carolina, started working construction and gave up the trumpet for nearly a year. It wasn't until a good friend of mine, Jason Ridenhour, asked me to stop by his band's rehearsal and improvise some horn lines. It was my first experience making up music. After the rehearsal, we went back to another friend's house where he played Louis Armstrong, Miles Davis and John Coltrane for me. Even though that music sounded strange to me (it wasn't what I heard on the radio day in and day out), hearing the trumpet in such a different context moved me. I loved it. It was very cool. I was 18 or 19 years old.

Discovering jazz at such an age, and delving into music at a time when I now have financial responsibilities, makes things a little more difficult than if I were 10 and starting to study jazz when family could support me and all I had to worry about was practicing. So, being an emerging artist at a seasoned 33 is really on the right time line with the greats I admire. They were 4 or 6 and emerged when they were 18 or 19 -- 12 or 14 years after they started -- just about the same time frame.

MOVING AND GROOVING: FROM SOUTH CAROLINA TO NEW ORLEANS TO NEW YORK CITY

"I needed to immerse myself in the city [New Orleans] that gave rise to the art form."

Mark attended Winthrop University and studied under his first and only full-time trumpet teacher, Dr. Ian Pearson, about whom Mark says, “He had a significant effect on me - always supportive and encouraging. He showed me the breadth of the trumpet literature and so much amazing music out there. I found immense interest in performing and writing music and I loved everything that surrounded the musician's lifestyle - at least as it was presented to me through my ideal of the time, Wynton Marsalis. I saw how you can make people smile and feel good, tour the world and have the opportunity to always expand your knowledge by meeting so many different people from so many different cultures and backgrounds. That was and is awesome. I had a few meetings with Wynton Marsalis during my college years and although he didn't directly suggest I go to New Orleans, I realized if I had any hope of being a jazz musician, I needed to immerse myself in the city that gave rise to the art form. After graduating from Winthrop, I attended the University of New Orleans where Ellis Marsalis was the head of Jazz Studies. I stayed there for nearly 5 years and when I left, I'm proud to say, I was in a couple of groups which were getting a lot of attention and a lot of work.”

JazzReview: So, you moved to New York City; Why?

Mark: I moved to New York just before the 2000 New Year. I was in a questionable time in my life. I was wondering just who I was. Was I man and musician enough? Did I really have it in me to go for this life and career of music? Furthermore, there is a huge history of cats moving from New Orleans to New York to "make it." I wanted to be a part of that tradition. So, there I was a full-time musician, making a good living, had a house, car, dog, etc. and I left for New York. So many great things going on and I just left.

My first year in New York was probably the darkest time of my life. I was stressed and generally freaked out from the intensity of New York, not to mention the consistently high level of musicianship and how many musicians there were hustling for the tiniest gig. It was unbelievable. I actually lost my lip - I couldn't play for a while. I went from playing almost every night to nothing. I had to get a day job (this was tough after being a full-time musician for years and years) to pay the outrageous NY prices and rent and was exhausted physically and mentally. I got it back together and finally played my first NY gig almost a year later. I was going to sink or swim. I think I may be doggie paddling at this point.

INFLUENCES

"...it is in that "mistake" where the grandeur and spirit of improvised music is preserved."

JazzReview: You have noted emphatically that Terence Blanchard is one of the most important musical influences on you. Why?

Mark: What I enjoy most about Terence is his daring approach to performing live. Every time I've seen him play, he has constantly tried for something new in his playing. He is constantly experimental and adventuresome. Sometimes, you'll hear him miss what he is going for and you'll see his emotional reaction - he's immediately involved in the music. Furthermore, it is in that "mistake" where the grandeur and spirit of improvised music is preserved. I liken him to Tiger Woods. He's the best in golf, but often due to his attempts at even better shots, he may find himself in the rough and having to find creative ways to come to a conclusion on the green. And that is exciting not only for the performer, but the audience as well.

JazzReview: Wynton Marsalis: Another important influence -- How does your style/your ideas about jazz compare/contrast with his?

Mark: I openly and without regard tell people, I'm not a standards or be-bop player. I play MY music, MY compositions. Wynton is a master trumpeter and a master of the history of jazz music as a whole. He is a brilliant, brilliant man and musician – truly a one-of-a-kind. To dare to compare myself to him may be more comical than informative, but since you asked…

My goal is to present music accessible to a mass public while maintaining modern jazz ideals. I write music with memorable melodies and solid grooves which the everyday passer-by would enjoy, but once we have you nodding your head and whistling along, we're going to take you on a little ride and improvise to the best of our abilities, but we'll always bring you safely back home. Much like a fun, sometimes scary, but mostly exhilarating roller coaster – it looks sexy, sounds smooth, and it's a helluva lot of fun.

Obviously over simplifying, but I think where Wynton currently upholds the Jazz art form through swing and the blues, I try to present Jazz through grooves and the blues. In other words, Wynton will present a concert on the music of, say, Count Basie – it's history, tradition, great music – and he and his musicians will brilliantly improvise in that style, but also play some modern, unique ideas -- all and all it is a significantly historical, yet modern and amazing concert. My group and I will present a concert of original music - grown from the past, inspired by the present – coupled with educated and passionate improvisations. All and all -- and hopefully my audiences agree -- it's an amazing concert. So there are subtle differences and similarities.

THE DIDGERIDOO

"The sound of the didge grabs your core with a warm, organic and ancient embrace."

JazzReview: Do you get criticized for incorporating this "unjazzlike" instrument into your music? What does Marsalis think about it?

Mark Rapp: The sound of the didge grabs your core with a warm, organic, and ancient embrace. There is something very engaging about its vibrations. It lays down a solid and entrancing foundation upon which we as a band and soloists paint aural pictures in the moment. It's a situation where we thoroughly explore jazz ideals – band communication, raw improvisation, tensions and releases, the blues, creating a story through harmony and melody, et al. We have had some utterly magical moments during these "jams." One in particular happened while we were playing with Branford Marsalis in South Carolina. It turned into a powerful, gospel-like groove where we were trading between playing a melodic hook and solos. The crowd and all of us on stage had a blast!

A number of years ago, I played Wynton a recording of one of our didge jams where I overdubbed my trumpet through a wah-pedal. It was a particularly moody piece, but cool and driving. I was concerned about his opinion because it was so different from what he does so I asked, "Does it disappoint you?" He said something to the effect of "… not at all man. Keep doing your thing." He was cool and supportive.

Honestly, I haven't had that much criticism for utilizing the didge in my music and as a vehicle for improvisation. It may come across as unexpected, but usually, by the time we really get into a jam, any naysayers are all on board enjoying the ride. On the other hand and to elaborate a little more, for the purpose of this and any discussion regarding Jazz, it's important to establish its definition. If we define Jazz as possessing elements of swing, the blues, and improvisation then sure, the didge may fall a little short of the swing requirement, but it doesn't fall short of the groove. If we define Jazz as a music of improvisation, group communication, and the blues, then the didge most certainly can be regarded as a jazz-like instrument. I don't mind criticism, and welcome it. I'll take what I can use, what will improve me as a man, an artist, a friend, a businessman, or whatever; the rest I let go.

The bottom-line: There are only two kinds of music, good and bad. I hope most people find mine to be good!

Read Part One of this interview: www.jazzreview.com/article/review-5633.html

 



For more information: www.markrapp.com

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