Mark Maxwell, Saxophonist

Eddie Harris (1933-1996) was an amazing saxophonist and musician, an inventor and innovator, an educator, a savvy and successful businessman, a masterful performer, a fierce individualist, and a true smooth jazz pioneer.

Eddie Harris is not a super-famous sax man.  He’s not someone that gets mentioned a lot when you ask sax players who they listen to or are influenced by.

But when you consider his career and his achievements, and the pervasive influence of his style and technological innovations, it becomes clear that Eddie Harris was a major force in the evolution of jazz/funk/blues fusion music, i.e., the forerunner of smooth jazz.

Here’s a quote from an article about Eddie Harris at the Ubiquity Records website:

In the course of recording more than 70 albums and CD’s, and the author of seven (7) music books, Eddie has displayed himself as a jazz artist who has played blues, rock, jazz fusion, straight-ahead, soul and funk grooves.  Eddie’s pioneering work in musical electronics and the effective conjunction of different elements of blues, rhythm and blues, jazz and funk has had widespread influence of what is generally considered today’s music. Eddie’s music has been sampled by over 30 artists including: Macy Gray, Jamiroquai, DJ Jazz Jeff, Heavy D and the Fresh Prince.

Note the reference to the ‘effective conjunction of different elements of blues, rhythm and blues, jazz and funk’.  That’s smooth jazz, man!

And from the Eddie Harris website:

Eddie’s pioneering work in musical electronics and the effective conjunction of different elements of blues, rhythm and blues, jazz and funk has had widespread influence of what is generally considered today’s music. Eddie’s music has been sampled by over 30 artists including: Macy Gray, Jamiroquai, DJ Jazz Jeff, Heavy D and the Fresh Prince.

‘…widespread influence of what is generally considered today’s music.’ Again, that’s referring to smooth jazz.

To be precise, Eddie Harris recorded 76 albums.  Three of his albums, including his very first release, Exodus To Jazz, were certified gold (over one million copies sold).  I guarantee this album was being heard in every household in the country back in the mid-60’s.  His composition, Freedom Jazz Dance, was recorded by Miles Davis, and subsequently became a jazz standard.  He wrote most of the music heard on The Bill Cosby Show.

One of the most interesting things about Eddie Harris’ career was his work as an inventor and innovator.  Among his many innovations (including the reed mouthpiece for the trumpet, coronet, trombone and flugelhorn) was the use of the Varitone, which was, in effect, an electric pickup for the saxophone.

His use of the Varitone can be heard prominently on many of his recordings, including one his most popular hits, Listen Here, from his album The Electrifying Eddie Harris.  You can hear the electricified quality, and especially the doubled lower octave, on this excerpt from Listen Here, recorded in 1967:

Finally, Eddie Harris was a fierce individualist.  He followed his heart wherever it led him.  He was often villified by critics, first for his commercial success (they thought he was selling out) and later for his forays into funk and electronics.

Eddie Harris, a true smooth jazz pioneer.

Here’s a review of my most recent CD, Saxual Healing, done by Betsy Graziani Fasbinder, a writer here in the Nevada City, CA area:

I’m a relative newcomer to the Foothills, so maybe natives are familiar with Mark Maxwell, but this local musician is a new discovery for me. When asked to review Maxwell’s new CD release, “Saxual Healing” (clearly a Marvin Gaye allusion) I’ll admit that the title initially made me scratch my head–just a little. I’ve now enjoyed the collection several dozen times. Like a good merlot, these songs get better with each sip.

Maxwell’s music cannot be described without using the word smooth. His sax is sultry and as easy on the spirit. The sound quality is clear and uncluttered. Nothing jarring, no dissonant, anti-melodic jazz riffs, no frantic, over-played melodies—just a silky sax melody that seems as if it’s conjured with human voice rather than by an instrument. While the musicianship is abundant, it doesn’t intrude with any musical muscle flexing. As a novelist, I found it easy to write with the CD playing around me. As the title would imply, this is also great background for, eh-hem, other activities besides writing.

Don’t let the word “background” make you nervous. “Saxual Healing” is no elevator music, with flavorless, instrumentals that plant subliminal ear-worms of annoyance. Nobody wants Muzak intruding on their romance, only to find the mood broken with the question, “Hey, isn’t that ‘Like a Virgin’?” From start-to-finish “Saxual Healing” sets a mood, with not a single note that breaks it.

As I listened to Maxwell’s music for the first time, I thought about how much it appealed to a woman’s sensual sensibilities. No pounding bass line. No abrupt changes of tone. The cover liner and website (www.saxualhealing.com) validated my hunch, noting that this music is co-produced by Mark Maxwell and his wife, Roberta Maxwell. The musical story is intended as a woman’s expression of sensual essence. I love when I’m right.

Seven of ten of the pieces are Mark Maxwell originals, among which is the especially gentle and playful “By Her Side”. One of my surprising favorites (given how much I loved the original) is “Falling”, an Alicia Keyes cover that is simply so sexy that it makes you want to put the kids to bed early.

Now that I know Mark Maxwell’s music, I’ll be checking into his other recordings and hoping that I find him playing around the community. Until then, I think I’ll tuck the kids in and put the CD on—as background.

Betsy Graziani Fasbinder is a local writer, and psychotherapist–currently without a couch. She lives for characters, songs and stories that take her out of her own noisy head and transport her using her heart, mind or funny bone as vehicles.

Thanks, Betsy!

I did a radio interview recently with Bernie Schumacher from the KK Radio Network up in Park Rapids, MN.

I ran into Bernie and some of her friends when I was doing a show down in Tubac, AZ. She and her friends were a hoot, very friendly, very upbeat and fun, we had dinner, etc., and Bernie asked me to appear on her radio show. Here’s the mp3 of that interview:

One of my professional goals is to be an Endorsing Artist for the companies who’s equipment I use. My strongest endorsement, of course, would be for my Yamaha saxophones. I do, in fact, endorse Yamaha saxophones; someday Yamaha will endorse me.

In the meantime, here’s a great article written by John Wittman who is the Manager of Education and Artist Relations for the Band and Orchestral Division of Yamaha Corporation of America.

“Musicians performing at all levels consider acquiring endorsements at some point in their career. Some play with the idea; others move on it. Ultimately, it is the reasoning or motive behind one’s actions that determines success as an endorsing artist.

From the manufacturer’s point of view, endorsements are designed to help promote the credibility of a company’s instruments or accessories. They also exist to give the appropriate support to established artist and to help the company sell more instruments.

Ask Why

When someone asks a manufacturer that they want to endorse their instruments, they listen without interrupting until they are completely finished with their pitch. Then, after a long pause, they look you straight in the eye and say one word, which is one of the most empowering words in our language. They simply ask “Why?’

The artist’s response will ensure or quell any interest on the manufacturer’s behalf. If they continue talking about how good they are, or how close they are to signing that big record deal, or how they would be crazy not to sign them, then they’re invited to send a package and the conversation is ended as quickly and politely as possible.

If, on the other hand, the artist says that they love the instruments, have found complete freedom in musical expression playing them, and indicate that they will continue playing them whether they are endorsed or not, they continue to listen.

Be Professional

It is amazing that musicians will apply to several manufacturers at the same time. Consider the lack of credibility involved here. What does this say about their musical decisions? What they are really saying is that it doesn’t matter, musically, what instrument they play and that they are just looking to find the company that will give them more.

Musicians - get a clue. If you want to be taken seriously in the big leagues, act like a professional, make a musical decision, and stay with it. If you want to be considered for a corporate, musical, and personal relationship through an endorsement, consider the following:

1) Cast a clear vision for yourself: know who you are; determine your own sound; devote yourself to music … the songs, the group, the sound, your students, and your career. When you are making a living playing music and have something to offer others, then move on to number two.

2) Ask yourself why. Why are you asking for an endorsement? What are you willing to offer? What do you bring to the table that would matter? What attributes do you have as a person and as an artist that would make you invaluable to a company?

3) Do you have an established career in music? This is a yes or no question. Be realistic, as this is the real world. Some guidelines: how many thousand or tens-of-thousands of recordings were sold last year with your name listed as the main artist? Are you currently on a major tour? How long have you been in your current band or symphony? Of what college or university are you a faculty member? If you are still in college, stay focused on your music and forget about endorsements.

4) In order to merit clinic support, you must be a great clinician. A great player is not necessarily a great teacher or clinician. This is an important point. Before you ask for clinic support, have 100 clinics under your belt and make sure that belt is a black belt in the art of teaching. It is important to the manufacturers that someone who calls himself or herself a clinician is indeed artful and effective at this work.

5) Make yourself an expert on the company that manufactures the instruments you play. You show know its history, philosophy, current artist roster, and position in the market. If you want to be an endorsing representative of a company, you simply must know and respect whom you would be representing before you approach them. Study the company’s website and determine how it represents its artists. Do you fit in the roster?

6) Establish rapport. Introduce yourself at trade shows to the company’s staff without presenting a package or even mentioning the word endorsement. They assume, if you are talking to them, that you can play. Remember, many of the people working for instrument manufactures are fine musicians. Many of them would surprise you if you ever heard them play. In the endorsement context, you need to present yourself as a businessperson. They would like to know what it would be like to work with you…

7) Prepare a well-crafted promotional package. Your package should include a short letter, a biography, a recording, a photo, and the URL to your website. Take time and have fun constructing this package; it is your first impression. Do some background work and be sure your sending it to the right person. Get the correct spelling of his or her name, as well as that person’s correct title.

Don’t expect free instruments or to be paid money in return for playing a company’s instrument. Artist discounts will be discussed after your package has generated interest. Companies expect endorsing artists to play their instruments exclusively; to mention their companies at educational events; to thank the company for their support; and, when possible, to include the company’s name on recording materials. Individual companies may have other expectations beyond these, which will be discussed if they are interested.

9) Keep focused on the music while paying attention to your sound and to your business skills. Music manufacturers are, above all, interested in being represented by good, professional musicians who truly love the tools of their trade.

An endorsement relationship with a company is a privilege. It is a truly reciprocal relationship, which is based on trust and great communication. Endorsements do not exist to propel anyone’s career. Rather your successful career will propel endorsements.“

Recently, my friend and agent, arranged a concert for me, part of the Jazz Supper Club series at the Rancho Murieta Country Club. An excellent venue, extremely friendly and attentive listeners, great vibe, etc.

And I had a great band with me: Bob Villwock on keys, Aswut Rodriguez on guitar, Cecil Duke on bass, and Eric Everett on drums.

Got some great reviews. Check it out:

From Vince Lepara, the President of the club:

Last night (5/31) I attended the “Sold Out” Jazz Supper Club; ask anyone who was there and they will tell you that Mark Maxwell was great. Even when he stopped playing just after 11pm the room was still packed and standing in appreciation for a super performance. We will have Mark back for a very special fall event and trust me you are in for a special treat. I noticed that Mark sold over 200 cd’s last night

I actually only sold about 40 CDs, but that was still impressive.

Here’s what Marvin said about his experience there:

I am still reeling from last night. I have heard nothing but positive and glowing comments about the show. That was one of the most enjoyable nights of music that I have had since I saw BB King (1976) in a little 100 seat club in Southern California.

Seriously, the band hit on all twelve cylinders. Oldsters and youngsters alike were amazed with the musicianship that they witnessed. Mark, you are truly blessed, not only with your music, but with your ability to touch the hearts and souls of so many individuals with your sincerity and obvious love for humankind.

Denise and I have met many people in the entertainment industry and we truly believe that our paths have crossed with you and Roberta for a reason. You were obviously in your element.

Thanks, Marvin. I appreciate that.

FYI:
Marvin Edens
General Manager
ISLAND Productions