Go-Go Marc, Cary On! An Indigenous Person Tells his Story

Phil wishes he was a musician (well, he is one, but he wishes he were a good one) but he's not frustrated by it. He's frustrated with a lot of other aspects of the so-called biz. Therefore, he's excited by independently released jazz.

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Published: May 27, 2004

“ ...everything I'm doing and want to do is related to the concept of jazz-meaning improvisation, rhythmic inventiveness, dealing with rhythm ”

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Sometimes, as Marc Cary so astutely points out at the end of this interview, we presume too much for our musical heroes. We listen and then, it seems, we just know they're so good, we assume numerous fans feel the same way, providing at least enough artistic and economic support to sustain careers and keep that creative vision growing vigorously. This hypothesis may appear supported by a somewhat steady flow of recordings and sideman appearances, although they never seem to tour through your town. Presume nothing.

If, as in the case of Marc Cary, our protagonist released a record in 1999 so fully out ahead of the jazztronica and live drum'n'bass tip, you (that's me ) presume he'd be discussed, or at least listed in a listening guide published by the leading jazz magazine trumpeting the arrival of the genre. In addition, you hear that same record, called Rhodes Ahead as one of the greatest examples ever of employing and exploiting the specific sound spectrum, versatility, headphone-enhanced, headtrip-inducing allure of the Fender Rhodes electric piano. So, you presume he'd receive widespread recognition, or perhaps even some recompense or endorsement from the Rhodes folks for doing them proud. Hell, if just one person could compose the tune and perform the keyboard and drum tracks (not drum-machine tracks, the drum set tracks) on "Take Me Higher," Rhodes Ahead 's most extremely accessible, super-radio-friendly gem, you presume he'd be known as some kind of one-man jam machine and that the tune got played on the radio. Presume nothing.

The same year, he released an acoustic record (called Trillium ), incorporating elements of trad-jazz, funk, Go-Go music, and blistering bop, full of seductive Milesian breath and space. The core trio included the soon-to-be-ubiquitous and lauded rhythm section of Nasheet Waits on drums and Tarus Mateen on bass, so you presume he'd catch plaudits comparable those heaped so luxuriantly upon the successive release on which they ( his rhythm section, you assumed) appeared (Jason Moran's Facing Left ). You certainly do not presume that his label at the time, a fair-sized independent, would reject said release, forcing him to go with a smaller indie.

Speaking of "the Go-Go," as Cary calls it, you presume that he'd get some play for successfully and seamlessly combining elements of an American regional (Washington, DC, to be exact) appropriation of Latin, African and Cuban rhythms, aka Go-Go rhythms, with jazz. Furthermore, as in the case of our hero, if at the tender age of 25, he had recorded and toured accompanying Ms. Abbey Lincoln and Ms. Betty Carter, displaying all the deep, savvy authority, tenderness, empathy and musically loving restraint of jazz piano's elder-statesmen, you'd presume-pardon me, the rant stops here. Concluding sentence: Marc Cary deserves a much wider audience.

Let's leave it there and intro this interview paraphrasing Stefon Harris' at the recent Blackout gig I attended: "Ladies and gentlemen, on keyboards and piano, an enormous talent, so much so I can't sum it up in words. I'd just like to say that Marc Cary brings something special to the bandstand, something musically, that I have been trying to get next to for a long, long time." Hey now, so have I.

All About Jazz: So Marc. I love your music and am so glad I tracked you down here! Let's get some basic bio info.

Marc Cary: I'm 37 now. I was born in New York City and grew up in Washington, DC. Through Washington I was basically able to cultivate myself and be cultivated by a lot of great people. I had many great influences. My early life growing up was a little turbulent based on many things. It was a turbulent growing up but every bit of it was needed to kinda get me to where I'm at now. I think that if I didn't go through some of that stuff early that I'd be doin' it now, you know? At some point that 's all got to come out (laughs).

AAJ: So you started playing real young, right?

MC: Well, I started playing the piano when I was sixteen. I've had a band since I was twelve. In DC every neighborhood has at least ten bands. You got Northeast, Northwest, Southeast, Southwest and you have neighborhoods within that. In Northeast you got the Northeast Groovers , Rez and the Boys, Pumplanders, Bucey Brothers...

AAJ: What, in one neighborhood?

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