Interview with Jonny Martin

1. How did it all begin? What was your way towards making music?
I was taught piano by the headmistress of my primary school and I first performed in public when I was about 9 years old, in front of my school. I was completely terrified and managed to make it to the end, but I’m amazed the experience didn’t put me off live performance or life! I started playing trumpet aged 12 and had a private tutor called Mr Harry. He taught me to read music and play classical trumpet, but I was listening to Miles Davis and Dizzy Gillespie and trying to copy Earth, Wind & Fire brass parts. I became interested in the bass guitar when a friend of mine suggested I try it out, as it would be easier to play in bands as a bass guitarist. I played bass in a number of indie/singer songwriter bands and have toured around Europe. I’ve also played in New York, where Storm Sandy interrupted a series of gigs with Punchdrunk theatre company. Although we only did two out of six performances, fortunately, insurance saved the day,

2. On one hand you seem to focus on bass guitar, on the other you are inclined towards brass instruments? How do you divide yourself between those and where is the angle?
Before getting back into the trumpet, I only played bass guitar, live and in the studio. I only recently bought a trumpet, (inspired by Liberty City by the Jaco Pastorius Big Band),  having sold my original instrument many years ago. I also have a flugelhorn, which I use for more mellow pieces. Both it and my trumpet are handmade here in England (Norwich in fact), by the amazing Andy Taylor, a real old-school craftsman. I only play live improvised music on trumpet/flugelhorn nowadays and I only use bass to record now, adding trumpet/flugelhorn tracks etc. afterwards.

3. What brought you musically towards improvised music?
When playing in a band called Temper Temper, I was playing bass using an EBow through multiple effects. During a break in a rehearsal, I was noodling around with droning noises and the drummer asked if I’d thought about playing live, solo. I questioned if anyone would want to listen to this type of thing and he suggested I search improvised music in London. I played my first solo gig as “laughingstock101” at a night hosted by Ryan Jordan, using bass guitar, EBow and multiple effects and a micro projector that I used to project abstract videos that I’d shot, onto myself whilst I performed. I now have a set-up using my flugelhorn through effects, with various electronics, to create sort of drone soundscapes.

4. What’s your recipe or a formula towards creating an interesting improvised piece?
It depends on the context. If I’m playing live, I have a rough idea of the sounds I want to use, but will be open to change as I’m playing. My approach to recording is very different in that I often start with a field recording that I add layers to. These layers may be EBowed bass, electronically created sounds, or treated trumpet/flugelhorn.

5. These times are very difficult for musicians. What’s the idea of a healthy wellbeing of being one and how it changed over the years for you? Have you had temptations to become fully fledged pro? I now only play for pleasure and although I have earned money from music in the past, not relying on music to make a living means I can play what I want, whenever I want to. This works for me because it removes that layer of pressure that has to do with business, not making music.

6. What inspires you outside the world of music when it comes to literature?
I love books about food and I'm fascinated by unusual recipes. Heston Blumenthal is a master and although I’d never try to make any of his creations, I find what he does and his approach particularly inspirational. I’m always listening out for amusing and curious sounds to add to my musical recipes.

7. Plans for the future.
 I want to continue to play with the London Improvisers Orchestra and Murmurists (a project led by Anthony Donovan). I’ve really enjoyed playing at Mellifera, a monthly night at the Hundred Years Gallery, curated by wonderful Emily Shapiro and I hope this will continue. I’m also hoping the Hither Green Drone Orchestra (organised by Richard Sanderson [Linear Obsessional]), will carry on too. There is also a collaboration on the cards, on hold at present because of the virus. I’m really looking forward to live music returning, whatever shape or form it takes.

bandcamp link