An Interview with Mark Buselli, Educator, Performer, Composer and Arranger

JR247: Mark can you give the listeners some background on who you are?

Mark Buselli: Well, after college (Berklee) I went on the road for 10 years, played in a hotel, a couple of ships, big bands, landing briefly in Boston, NY and Phoenix. I went to over 20 different countries, learned over a thousand songs and met many different people with all kinds of musical backgrounds. I met my wife on a cruise ship, moved to Indianapolis, did a Jazz Studies MM at IU and now am head of the Jazz Studies dept. at Butler University in Indy. 

With my partner Brent Wallarab we run a 16 pc. Jazz Orchestra that has an actual concert season AND a highly successful educational component. I freelance around town and travel quite a bit doing clinics, masterclasses etc.

JR247: Mark, I know you personally, and know you have some pertinent things to speak on the State of Jazz in 2006. Can you share some things, specifically on the how you think the music is doing in 2006?

Children, being very honest pick up on this vibe instantly. Improvisation can let the child pretend, invent, explore and ultimately find out who they are a lot faster than some other required subjects at schools......Mark Buselli

MB: I have heard many people say that Jazz is dead. In fact, there is a book that came out in 2005 titled “Is Jazz Dead?” A number of years ago the Blue Whale was put on the endangered species list and because of people committed to saving this great animal it is making a comeback. Jazz is on the endangered list. Clubs have dwindled, we no longer hear nor see any of the music on radio or TV. These things we all know. Instead of complaining and griping I choose to do something about it.

The Universities are keeping this art form alive. Yes, there are teachers that have gone straight through school with out any real life experience but rather than rant about that I say at least there is a program in place! Students who really want to play the music will gravitate to the people that are actually doing it. The sax player who only knows how to play late Coltrane will figure out that in order to survive in music they will have to be able to play a lot of different styles. Yes, stressing that each individual be allowed to find their own voice is wonderful but I feel that the history of the music must be absorbed for this to happen.

When I was at Berklee I had an opportunity to play with Branford Marsalis. I remember we had this big band recording session and he had an alto solo on it over the changes of Scrapple From the Apple. I got a tape of that recording and loved his solo so much that I started to learn it. Six months later I was listening to Dexter play Apple Honey (same changes as Scrapple) and was floored to learn that Branford played all of Dexter’s solo! After he went on the road with Art Blakey he came back to Berklee and did a concert. Everyone was floored! He had grown so much in those nine months! Afterward he talked about how Art had helped him become the musician he is today. One of the ingredients of his success is a working knowledge of the people who came before.

Sometimes I think we as musicians miss the point of why we play music. I play music because I know when it is done with honesty and integrity it makes people feel good. Children, being very honest pick up on this vibe instantly. Improvisation can let the child pretend, invent, explore and ultimately find out who they are a lot faster than some other required subjects at schools.

JR247: Mark that was extremely insightful and positive. Can you share some of things you and Brent are doing on a pro-active level in Indianpolis?

MB: These are some of the things that we have done to achieve what we have today: A Jazz Orchestra with a concert season and a strong educational component. First the PERFORMANCE side of things.

1. Find a place that your band can play at least once a week! This is the most important step. Without this you are just a pickup band. That once a week deal really helps to shape the groups sound. Get in tight with the club owner. Get as many people in the club as you can. Build audience databases. Send out cards when you are playing. Ask the musicians to bring family etc. How do you get great players to play for little or no money? It’s about the MUSIC. We write all of our own compositions and arrangements. Feature the people who come and play for you. Any band can go out and play stock charts of other bands. We choose not to do this which leads to the next step.
2. Write a mission statement. This may take some thought. What do you want to accomplish? Read other people’s mission statements.
3. MONEY! Energize your community! I remember reading an article 3 or 4 years ago that stated that over 50% of professional people (Doctors, and Dentists etc had been in some musical organization when they were in school. About 50% of those were involved in some sort of jazz program or band) These are the kind of people you need to bring your vision to … people with money!

We formed a 501 C3 Not for Profit with the help of a Lawyer who really liked the band 5 years ago. This allows us to go after grants, donations from companies etc. After the band had it’s unique sound and was established we invited prominent people to hear us. After the set we let them know what our vision to the community as a whole was and asked if they wanted to be on our board of directors. With a dynamic board raising money was a little easier .. not entirely though. Brent and I have another band that is smaller and plays music from the 30’s and 40’s that gets us a number of classy weddings etc. We take money from these gigs and help the Jazz Orchestra fund. Get a good grant writer on board that will work on a commission basis as this can help a great deal. People with money know other people with money and the ball keeps rolling. Sell season tickets. Treat your season tickets holders well!

The art form people call “jazz” is always changing. Life is always changing so it seems that learning to live some aspect of your life as a jazz musician might help you get through life a little easier.

1. Programming: You might do it at the club OR find a concert hall downtown that you can rent as we have done. We do a concert of new music every October. In December we will do a Christmas show that always sells out. Next we have our Valentines show that sells out as well complete with a catered dinner that people love. The last concert of the season features new music again. We try to pay the musicians well for their services above and beyond what “scale” is supposed to be. 
2. Collaborations: Very important as well. We have teamed up with the Indianapolis Symphony Orchestra to do a concert in the summer that over 9,000 people attended last year. Music of the swing era done right is a very effective way to bring a lot of new people to hear your band. With literature about the band on hand you are sure to get some new season ticket holders. We have also teamed up with the American Piano Association in writing new music for their jazz piano finalists. 
3. Don’t give up on your vision! If people on your board say you need to get the Four Freshmen in as guest artists tell them thank you very much for their input but that is not what you had in mind. There are people out there that will support an artistic vision… don’t give up.
4. Get people to produce your recordings! Let’s face it, anyone that wants to make a jazz CD for the money should look to the smooth side of things! CDs are calling cards. they get the word out, they get the band live gigs, festivals etc. Let someone else produce it and make their money back. Perhaps an agreement could be drawn up for a certain percentage after a certain number have sold.
5. Marketing: Yes, too many musicians spend so much time on this that they have no time to practice their craft. We all know these people. SOLUTION: Get other people to market for you! There are people who have these skills. Try to find people who LOVE the music and would donate some of their time. They are out there.

247: This is great, what are some things you are doing educationally as well?

MB: I am a firm believer in this. Why? Not every student is going to be a player. The ones that decide to do something else will have a respect and knowledge of the art and are most likely to become supporters in the future. I have a number of different jazz history courses at Butler for non music majors and while some educators cringe at having to deal with people who are only taking the course because “it fits in my schedule” I welcome the challenge of bringing this music to people who know nothing about it. You do not reach everybody but every semester I get about 5 to 10 new jazz enthusiasts. I frequently see them at the club when we play. It is about building an audience. This is the future of this music. Instead of complaining about this and that do something! 

Last year my organization touched over 5,000 students lives with help from the Musician’s Union and private companies like Lilly and Farm Bureau insurance.

Here are some steps to develop a strong educational component.

1. Develop educational shows for different age groups. Go to BWJO.org and you can view all of the educational material I have put together over the years.
2. FUND them. Yes, it is about money again but it is far easier to get money for education! Draw up a plan and put it in writing. Have some people who know about plans review it. Take it to companies around your town. Tell them how you plan to make your community a better place through these programs.
3. Collaborate with other educational programs like Young Audiences. YA is established and knows what kind of program would work or not.
4. Get the kids involved. Our three shows has them participating in some way shape or form. Let them know how it feels to play and how it feels to move to the music.
5. Get people on your board who care about this component. Without a strong educational program your performance options dwindle.

Some observations about education: In America schools are driven by tuition which means enrollment must rise in order to meet costs of the administration (namely the dean’s annual raise) but in some European countries Universities are funded by the government (call it whatever you want but…) which makes the opportunity to have fewer students a reality. Fewer students means the quality can go way up and time spent with instructors is maximized. I think you can see the benefits in this system.

The art form people call “jazz” is always changing. Life is always changing so it seems that learning to live some aspect of your life as a jazz musician might help you get through life a little easier.

JR247: I personally want to thank Mark for taking the time to respond in such a thorough and distinct manner. This was very thoughtful and I believe, helpful.

For more information about the BWJO organization, please visit: www.bwjo.org