Earmix by Marvin Stamm

As a member of the George Gruntz Concert Jazz Band for many years, I came into contact with a number of European musicians who at some point had participated in Europe’s free jazz movement. Among them was drummer Daniel Humair, a Swiss musician and painter living in Paris. Daniel was also a colleague with George Gruntz in Phil Woods’ European Rhythm Machine, as well as an original member of the group of Swiss musicians from which the George Gruntz Concert Jazz Band emanated.

Daniel and I discussed doing a project together several times when the band played in Paris, the result of which is “Ear Mix.” Though I had played “free” many times over the years, I had never recorded anything in the genre. This group—American vibraphonist David Friedman, bassist Sebastien Boisseau, Daniel and myself—had never come together before. Everything was a blank slate. What made this recording possible was the personal and musical simpatico that grew among us over the three days of playing and living together. We all were conversationalists, but understood the paramount importance of “listening.” There were only two composed pieces—Sebastien’s “Pablo” and Joe Henderson’s “Black Narcissus.” For the other pieces, possibly a short sketch or only a motif might have been presented as a launching platform. Or we might sit in silence until someone was moved to play something on their instrument, eventually inviting one or more of the other musical conversationalists to join in, out of which one of these pieces was brought to life. This album was a real departure for me, one I still find intriguing and very enjoyable to re-visit.

Over his career, Marvin Stamm has been praised for both the art and the craft of trumpet playing. Leonard Feather stated that Stamm is an accomplished performer whose technical skill is used as a means to stimulating original ends.
Jazz Review states, “It is a pleasure listening to the work of Marvin Stamm, anytime! Stamm is a musician's musician, performing flawlessly on the trumpet.”