Marty Grosz
Jazz Guitarist, Vocalist, Composer, Arranger, Author, Artist and Raconteur
MAN & MUSIC
b. Martin Oliver Grosz, Berlin, Germany - February 28, 1930
“Marty Grosz occupies a unique position in jazz. there has never been anyone quite like him before and, with the declining taste in popular music scorning quality, imagination and talent as it plumbs new depths, it is safe to say there will never be anyone like him again. Marty’s many skills are too sophisticated for today’s generation and that is why one wit has humorously (but with unerring accuracy) dubbed him “The Timewarp Troubadour.” (1)
His musical soup features the best from his guitar heroes, Carl Kress, Dick McDonough, Eddie Condon, and Eddie Lang, seasoned with swingers like Fats Waller and Henry “Red’ Allen. His intimate relationship with those above and other key players (Red McKenzie) across the 1920s, 30s, and 40s runs deep as he continues to mine, digest, and grow his art. When called to pen and paper, he delivers liner notes, scribblings, album art, articles, and such, filled with a unique brand of analysis, humor, and criticism. Marty Grosz is your man if you need an excellent classic jazz-era read.
Born in 1930 in Berlin, Germany, grew up and educated in NYC, settled in Chicago for nearly 20 years. Here, he established himself as a rhythm ace, vocalist, and bandleader performing and recording in the Windy City with Don Ewell, Frank Chace, Art Hodes, Jess ‘88’ Sutton, Dave Remington, and the Gaslight Club band. One phone call from Bob Wilber in 1975 brought the guitarist back to the Big Apple as a member of Soprano Summit. Martin Oliver’s timing could not have been better.
1975
Brandishing a Stromberg acoustic archtop guitar, Marty brought to Soprano Summit a harmonic and rhythmic foundation unlike anything in NYC at the time (or anywhere else). With a setup of heavy gauge strings, tuned Bb-F-C-G-B-D (ala Carl Kress: Bb-F-C-G-A-D), high action, and mighty chops, he carried a thunderous tool. Add a mix of classy vocals and an uncanny ability to charm and work an audience (ad-libbed); Marty Grosz is a stellar package.
Striking “jazz” gold, Marty found himself in NYC dead center in a classic jazz renaissance, albeit a short one. Clubs, concerts, jazz societies, and piano joints abound in Gotham and the surrounding area, many filled with sounds echoing the 20s, 30s, and 40s (and many original musicians that made those sounds). Most significantly, many classic jazz fans were on hand to soak up and support the music. Touring and recording full-time with Soprano Summit, his phone kept ringing, landing him top-shelf gigs with the New York Jazz Repertory Company and like-minded jazzers. At the time, there was a feeling that “something” extraordinary was happening for the music, a rebirth, maybe?
Two ensembles epitomized this revival as such and its potential future. Spearheaded by The Ruby Braff-George Barnes Quartet (1974-1977) and Soprano Summit (1975-1979), these two groups had much in common: a lone acoustic archtop guitar as its harmonic bed (Braff/Barnes: Wayne Wright, Soprano Summit: Marty Grosz), co-leaders who were well-seasoned, playing at the peak of their powers, temperamental, and musically connected (their chemistry and improvisational interplay left you thrilled and inspired), with exceptional taste in repertoire (SS: Prince Of Wails, If You Were The Only Girl In The World, Netcha’s Dream, B&B: Looking At You, Ooh, That Kiss, Here, There And Everywhere) that perfectly fit their chamber-like qualities. This didn’t prevent them from burning hot, ultimately too hot (sparks flew on & off the bandstand for these units). Regardless of tempo or work, these bands swung mightily at the core! Class acts they were, sadly, neither made it into the 80’s.
Two selections below capture them live and in full flight.
SOURCE: Soprano Summit In Concert, Concord Jazz CJ-29, 1976. (2)
SOURCE: The Ruby Braff-George Barnes Quartet-Live At The New School (NYC, USA), 1974, Chiaroscuro Records, CDCSO126. (3)
As the decades rolled by, the music business and the culture continued on a downhill path that had no room for this style of music. Put an aging and ultimately vanishing fan base (a new set of classic jazz fans were missing from the cards), promoters, venues, and boutique record labels seeing the writing on the wall closed shop and the gigs withered away.
Some thirty years ago, the guitarist himself summed it up in liners notes to a Soprano Summit compact disc reissue (4): “The clubs that nurtured local talent seven nights a week, allowing groups to work steadily and get their acts together, are a thing of the past. So where can they hear the seasoned players? Everywhere and nowhere, for we’ve become nomads. One week, a jazz party here, the next a concert there, and thankful to be asked. We crisscross the globe, usually alone, to play with different backup players every night, hardly the way to build the sort of group rapport that improvised music demands.”
So, there you have it.
On his own since the 1980s, Marty developed a devoted following for his swinging combos, guitar duets, and one-of-a-kind solo outings, all of which he presides over to this day.
“The Timewarp Troubador” …. Marty Grosz is an original artist of our time and one we should cherish!
Marty Grosz - The Collectors' Items Cats - Thanks ℗ 1997 Jazzology Records. (5)
Goody Goody - Marty Grosz, Wayne Wright-Acoustic Guitar Duets, Aviva Records-AVIVA 6003, 1979. (6)
Medley: IF WE NEVER MEET AGAIN & SWING THAT MUSIC, unknown year, location & source.
For everything Marty Grosz
visit
martygrosz.com
read
Marty Grosz: It's a Sin to Tell a Lie: My Life in Jazz (Jazz Story Club), Golden Alley Press, 2020.
SOURCES
1. Clarrie Henley, author of Clarrie Henley’s Marty Grosz Discography.
2. Soprano Summit In Concert, Concord Jazz CJ-29, 1976.
3. The Ruby Braff-George Barnes Quartet-Live At The New School (NYC, USA), 1974, Chiaroscuro Records, CDCSO126.
4. Soprano Summit, Chiaroscuro Records CR(D) 148.
5. Marty Grosz - The Collectors' Items Cats - Thanks ℗ 1997 Jazzology Records.
6. Goody Goody - Marty Grosz, Wayne Wright-Acoustic Guitar Duets, Aviva Records-AVIVA 6003, 1979.