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Take Five with Andrew Hartman

AAJ Staff By

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Meet Andrew Hartman:

Andrew grew up in Cincinnati, Ohio and became involved in music at a very young age. Moving to Columbus to attend the Ohio State University, Andrew received a Bachelor of Music degree in Jazz Studies from the school in 2004. In addition to his private studies with Tim Cummiskey and Kim Pensyl, Andrew had the opportunity for lessons with modern jazz greats Ben Monder, Kenny Werner, and Rick Peckham.



While pursuing his degree, Hartman began to focus his attention on writing and forming the Andrew Hartman Trio as a vehicle for his original compositions. Active as a leader and as a member of other groups, Hartman has worked with some of the area's finest musicians. His own projects have included such renowned musicians as Andy Woodson, Michael Cox, Derek DiCenzo, and Kris Keith. As a sideman Hartman has performed with such artists as guitarist Paul Brown, trumpeter/pianist Kim Pensyl, and vocalist Maggie Green.

Hartman's newest project is leading the modern jazz quintet Still Motion. The group's debut recording, Andrew Hartman and Still Motion, was released in March of 2010. The album is comprised entirely of Hartman's original compositions.

Instrument(s):

Guitar.

Teachers and/or influences?

My earliest teachers in jazz on guitar included Jack Broad and Phil Willis. They showed me a great deal about the instrument and most importantly opened my ears to some great music. Later on in college I studied with Tim Cummiskey and had the opportunity to catch lessons with Rick Peckham and Ben Monder. All were fantastic, unique and inspirational in their own ways.

Your teaching approach:

I try to meet students where they are at with their playing and with the music and hopefully offer a different way of looking at things.

CDs you are listening to now:

Sonny Rollins, The Bridge (RCA Victor);

Chris Thile, How to Grow a Woman From The Ground (Sugarhill).

Desert Island picks:

Charlie Parker, Yardbird Suite (Rhino / Wea);

John Coltrane, Giant Steps (Atlantic);

Kurt Rosenwinkel, East Coast Love Affair (Fresh Sound New Talent);

Elis Regina, Fascination (Universal I.S.);

Ella Fitzgerald, The Complete Ella Fitzgerald Songbooks (Polygram Records).

What are some of the essential requirements to keep jazz alive and growing?

The music is alive and growing. The jazz community only has to be aware of the ways in which it is growing and developing, and be sure not to hinder that growth. I think so many people—myself included—have, at one time or another, been afraid that the music is dying in a "public perception/how is this going to affect my career" sort of way, that it is easy to lose site of the music, which is what really matters. However, when I'm able to focus on my love of the music and bringing it forth, other people who might be relatively unaware of this genre can feel that love and might get turned on to the music as well.

Photo Credit

Courtesy of Andrew Hartman

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