Marc Copland

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Marc Copland (born May 27, 1948, as Marc Cohen) is an American jazz pianist and composer. In the early 1960s, Copland became a member of the Philadelphia jazz band as a saxophonist, and later moved to New York City, where he experimented with electric alto saxophones.

He became dissatisfied with what he felt were inherent shortcomings in the saxophone and moved to Baltimore-Washington, D.C., where he stayed for a decade as a jazz pianist.

In the mid-1980s, he returned to New York.

Early years

Copland was born in Philadelphia, Pennsylvania, on May 27, 1948. He began taking piano lessons at age seven, but sabbabbered at the age of ten when his public school denied the option of saxophone instruction. Copland, a childhood friend and fellow high school student, started his career on alto sax in his hometown in the early 1960s, learning and playing with Michael Brecker, a close friend and fellow high school student. He briefly studied harmony with Romeo Cascarino in Philadelphia, began training in composition with Meyer Kupferman and studied saxophone with Joseph Allard in New York.

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Career

In 1966, Copland immigrated to New York City, where he attended Columbia University. He appeared in a band with Armen Donelian and Sam Morrison at Columbia. He flourished in the New York jazz scene in the late 1960s and early 1970s, extending from traditional clubs to lofts throughout the city. Copland, John Abercrombie and Glen Moore, a member of the Chico Hamilton Quartet, were among the Chico Hamilton Quartet during this period. He experimented with adding electronic processors to his alto, culminating in the release of Friends, an electric jazz album made by a small New York City start-up company Oblivion. This album, which features Abercrombie, Clint Houston, and Jeff Williams, gained a five-star review in Down Beat magazine.

However, Copland was writing music with more sophisticated chords, suggesting to him a very different approach to music than his acoustic and electrostatic saxophone performances. He began to feel that the saxophone was not a good way to properly express his musical imagination as an instrument. By 1973, he had decided to move to piano.

When learning his new weapon, Copland spent the next decade in Washington, D.C., and Baltimore, D.C. and Baltimore in relative anonymity. During this time, he underwent a sort of apprenticeship, performing with well-known artists passing through the region who had a desire to work with him as an accompanist. He worked with musicians from Randy Brecker, Bob Berg, Hank Crawford, Art Farmer, Curtis Fuller, Tom Harrell, Eddie Harris, Harold Land, and Sonny Stitt, ranging from one week to the next. During this period, he also managed his own bands in local clubs, performing with many of the musicians who lived and worked in the area. Drew Gress, one of those who died in New York, has since joined Copland as one of the company's top musical collaborators.

Copland returned to New York in the early 1980s. For a time, he returned to Washington weekly to continue private tutoring and a stable trio engagement, but after a few years of steady visits, he has turned to more structured work in New York City. During this time, he worked with Bob Belden, Jane Ira Bloom, Joe Lovano, Herbie Mann, James Moody (with whom he toured for three years), John Scofield, Jim Snidero, and Dave Stryker. He began to appear in local clubs, but remained unidentified as a leader. Copland sent guitarist/producer Yoshiaki Masuo an audition tape after being led to the fact that the Japanese label Jazz City was looking for ten American pianists. The producer pleaded with Copland to disband, implying that the label had already signed an agreement with ten pianists. Masuo called back to say one pianist had dropped out and gave Copland his first record contract a few weeks later. My Foolish Heart, Copland's debut album as a leader, was recorded at "The Studio" in Soho. His trio and quartet gigs became more popular, and as word of his trio began, he began to perform regularly in several venues around the country, first with Peacock and drummer Bill Stewart, and later, with Billy Hart, who was no longer with the original trio.

In the 1990s, Copland met with Vince Mendoza on the recommendation of Peter Erskine and John Abercrombie, who became acquainted with Japanese producer Takao Ogawa. In a New York studio just over a few years ago, Ogawa and Copland bumped into each other, promising to meet to discuss recording possibilities. Ogawa developed and produced Stompin' with Savoy (Savoy), which featured an all-star lineup, including fellow Philadelphian Randy Brecker and Bob Berg. This is effectively Copland's American debut, considering the limited availability of his previous CDs in the United States. It attracted acclaim in the American press, owing to his unique way of re-interpreting the standard repertoire, a trend that was heavily copied by younger musicians later in the decade. The quintet's debut in major clubs around the country culminated in three years of touring with the quintet. Savoy recorded three other albums as well as a fourth CD that was never released.

The Savoy jazz catalog was relatively active in the late 1990s, although Copland went unrecorded for a few years. However, Copland had started touring Europe in the mid-1990s, first in duo with John Abercrombie and then in trios and quartets. As a result, several European labels expressed an interest in documenting their work at the start of the millennium. Each recording was welcomed enthusiastically by the press as a leading and original voice on his instrument in a multitude of contexts. His solo piano pieces, trios, trios, and quartets can be divided into solo piano works, trios, trios, and quartets.

Philippe Ghielmetti, a French entrepreneur, heard Copland with his crew in Paris in 2001 and invited him to record his first solo piano album. The album contained a majority of Copland originals. Werner Uehlinger, a Swiss entrepreneur, followed him three years ago. Bill Zavatsky's poem of the same name are included in Poetic Motion. Copland wrote his own poem, which helped to unify the theme of "time" in the CD title, cover photo, and the musical titles and content.

The pair of jazz was a rarely seen ensemble for years. In several of his albums between 2000 and 2005, Copland concentrated on this somewhat obscure style. His collaborators on the various projects portrayed a variety of musical styles, including alto saxo, soprano, and tenor sax, guitar, bass, and trumpet. The American Bill Carrothers, Copland's last duo release from this period, featured Copland in duets with another pianist with a harmonically enhanced bent.

Perhaps the album with the most notable public recognition for Copland during the new millennium was his return to the trio style with his old working band, with Drew Gress on bass and Jochen Rueckert on drums. The album was a reworking of the pianist's lyrical sensibilities to ballads' interpretation, a song form that lends itself naturally to his style. Through many years of steady gigs in New York, the United States, and Europe, the trio developed the rapport on the album. Kenny Wheeler and John Abercrombie were among three individuals' and composers to meet in a meeting of three individualist instrumentalists and composers. This trio appeared twice on several occasions, as well as frequently in Europe.

Copland wrote and arranged extensively for his quintet and quartet in the nineties; he re-launched his style with four CDs in the 2000s.

During this time, Copland only recorded for Pirouet. His output during this period was mainly trios, but also duos, quartets, and a quintet album. Some Love Songs refers to his earlier ballad album Haunted Heart, which features Gress and Rueckert. The pianist began with Modinha; he later returned to Gress and Rueckert for "Some More Love Songs" after returning to the trio.

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