All About Jazz

Home » Articles » Interviews

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...


Marty Morell: A Leader at Last

Ken Dryden By

Sign in to view read count
Working with the Bill Evans Trio was something that I had always wanted to do.
Marty Morell recently began his fifth decade on the international jazz scene, but it was only recently that he recorded his first CD as a leader. Best known for his long stint as the drummer in the Bill Evans Trio between 1968 and 1974, after leaving Evans he lived and worked in Toronto for a number of years, playing with a number of Canadian bandleaders and also playing on soundtracks and jingles. Morell has performed on recordings by Henry "Red Allen & Pee Wee Russell, Steve Kuhn, Gabor Szabo, Rob McConnell, Bernie Senensky, Kenny Wheeler, Moe Kauffman and Ed Bickert, among others. Although I first got in touch with Marty some time ago, he's been so busy touring that he only recently had a chance to take time for an interview.

All About Jazz: Marty, you have recently recorded a live CD at the Toronto Club Top o' the Senator (which is sadly no longer booking jazz). Is this your first as bandleader and will you be issuing it yourself? Has this band been together for some time?

Marty Morell: Yes, this is my first CD. I felt inspired to record it after meeting Evan Evans in 2001. He is a very talented young man and is a highly sought after film score composer in Hollywood. I had put off recording my own CD for too many years and felt that it was something that I really needed to do. Meeting Evan was what inspired me.

Last year my son Craig "Paco Morell and I started "Datz It Productions a CD duplication and production company. We have produced 5 CDs for various artists since moving to Florida. We do the graphics, duplication and packaging as well. So I decided to issue my CD through our company. It seems to be the way to go these days. You can purchase my CD at The band hasn't been together as a unit per se but I had worked with these musicians quite a bit in many different situations during the 25 years that I lived in Toronto.

AAJ: How do you choose tunes for a recording session or live set?

MM: Well, for this CD I wanted to record some of the tunes that I've composed over the years. I have three on the CD, but tunes like "My One and Only Love and "Two Base Hit are some of my favorites to play. I've always wanted to play "Two Base Hit so we put a chart together for the CD. Basically, I just choose tunes that are fun to play and try to come up with a good variety and listening order.

AAJ: Do you compose at the piano, away from it, or a bit of both?

MM: Usually at the piano. I don't have perfect pitch so I need a piano to work with.

AAJ: How does a new composition evolve for you?

MM: Well, it kind of varies. Sometimes I'll hear a melody while driving or some rhythmic configurations and of course by the time I get to a piano, those ideas are gone but in trying to recapture what I've been hearing, I may come up with something interesting. Sometimes I want to write something in a specific style so I'll start with some chords then work on the melodic lines. The tune "Blues News on my CD is based on a 12 tone row. I took a 12 tone row lesson from Bill [Evans] on a plane one time and this was the result. In the late '70s and early '80s I had a Latin band in Toronto and did a lot of originals in that style for the band. I am hopefully going to record these tunes sometime soon. I've got lots of them.

AAJ: Have you been actively conducting jazz workshops and/or taking on private students?

MM: Yes, over the years I've done lots of clinics and master classes and have had a good variety of students but with being so busy playing I really did not have the time to teach on a consistent basis.

AAJ: Describe your musical background, including how you got interested in jazz, any formal lessons, important mentors and early gigs prior to becoming a professional.

MM: Well, I began studying piano at age six then played clarinet at the age of ten but had always wanted to play drums. My parents finally gave in so when I was twelve I began playing drums in the school band and continued from there. In 1961 I was a percussion major at the Manhattan School of Music and also studied tympani and mallets at the Julliard School of Music with Moe Goldenberg and Saul Goodman. During the time I was in school I played all kinds of gigs weddings, parties and I did lots of show gigs in the Catskill Mountains in upstate NY. Met a lot of great players up there. Dave Liebman, Eddie Daniels, Joe Farrell and many others.

AAJ: When did you start playing vibes and piano?

MM: It's funny but after I finished school I put away the percussion chops and just played drums but when I moved to Toronto in '74 I got back into playing percussion. Basically it was a survival thing because I never thought of myself as a percussionist but when I got a phone call asking if I played Latin percussion and if I could play on a recording session, I quickly got back into it. Soon after that, Rob McConnell asked me to join the Boss Brass and asked if I could play a few mallet parts with the band as well. Guess he had heard that I played a bit of piano and thought that I could work up a few vibe and xylophone parts. So, I borrowed a set of vibes and started brushing up on the mallets. After doing my first weeklong gig at Basin St in Toronto, the phone started to ring off the hook with percussion calls. It seemed like I became a first call percussionist over night. It was at that time that I got interested in playing vibes.

As far as the piano goes, I've always played for my own pleasure. It's been a great tool for me as a percussionist. I actually did a few gigs on the piano but never felt that I was good enough to pursue it full time.


comments powered by Disqus

Related Articles

Read Leonardo Pavkovic: Nothing is Ordinary Interviews
Leonardo Pavkovic: Nothing is Ordinary
by Chris M. Slawecki
Published: March 16, 2018
Read Bobby Previte: the Art of Travelling Trustingly Interviews
Bobby Previte: the Art of Travelling Trustingly
by Ludovico Granvassu
Published: March 14, 2018
Read Dafnis Prieto: Cross-Cultural Mix Interviews
Dafnis Prieto: Cross-Cultural Mix
by Angelo Leonardi
Published: March 13, 2018
Read Julian Pressley: From The Duke To Ornette In His Own Way Interviews
Julian Pressley: From The Duke To Ornette In His Own Way
by Victor L. Schermer
Published: March 12, 2018
Read Stephen Nomura Schible: I wanted to make an intimate portrait of Ryuichi Sakamoto Interviews
Stephen Nomura Schible: I wanted to make an intimate...
by Nenad Georgievski
Published: March 10, 2018
Read Satoko Fujii: the Gift of Music Interviews
Satoko Fujii: the Gift of Music
by Angelo Leonardi
Published: March 7, 2018
Read "Aaron Parks: Rising To The Challenge" Interviews Aaron Parks: Rising To The Challenge
by R.J. DeLuke
Published: June 21, 2017
Read "Arto Lindsay: Watch Out Madames!" Interviews Arto Lindsay: Watch Out Madames!
by Enrico Bettinello
Published: April 25, 2017
Read "Remembering Milt Jackson" Interviews Remembering Milt Jackson
by Lazaro Vega
Published: March 27, 2017
Read "Generation Next: Four Voices From Seattle" Interviews Generation Next: Four Voices From Seattle
by Paul Rauch
Published: June 19, 2017