Born: May 23, 1939 Primary Instrument: Trumpet
Throughout his distinguished career, Marvin Stamm has been praised for both the art and the craft of trumpet playing. Leonard Feather stated that Mr. Stamm is an accomplished performer whose technical skill is used as a means to stimulating original ends.
While attending North Texas State University, a school noted for its innovative lab bands, Mr. Stamm was discovered by Stan Kenton. After graduation, he joined Kenton's orchestra as his Jazz trumpet soloist, touring with him in 1961-1962 recording five albums with the orchestra. In 1965-1966, he toured worldwide with Woody Herman.
Settling in New York in late 1966, Marvin Stamm quickly established himself as a busy Jazz and studio trumpeter. New York was bustling with jazz activity during that period, and Stamm performed at key venues with many of the significant players in the business. He gained considerable recognition for his playing with the Thad Jones/Mel Lewis Jazz Orchestra (1966-72) and the Duke Pearson Big Band (1967-70), as well as performing with Frank Sinatra (1973-74) and the Benny Goodman Sextet (1974-75) among others. Stamm was also a recognized first call studio player (1966-89), and he recorded with: Bill Evans, Quincy Jones, Oliver Nelson, Duke Pearson, Thad Jones, Wes Montgomery, Freddie Hubbard, Stanley Turrentine, Patrick Williams, Michel Legrand, Frank Foster, Paul Desmond, George Benson and many more.
Eschewing the lucrative studio scene in the late 80’s, Mr. Stamm has focused his attention on his first love, playing Jazz. Since that time, he has been a member of John Lewis' American Jazz Orchestra, the Bob Mintzer Band, the George Gruntz Concert Jazz Band, Louis Bellson's big band and/or quintet and, on many occasions, performed with the big band of composer Maria Schneider.
Currently, Mr. Stamm's activities include performing as a soloist, touring with his Jazz quartet or in duo with pianist Bill Mays. He performs often with symphony orchestras throughout the country and abroad. Stamm aslo continues to maintain his ties with George Gruntz' Concert Jazz Band, and, when time permits also travels with other all-star units.
Marvin Stamm's first solo album, “Machinations” was composed and arranged by Jazz legend, John Carisi. After touring for several years with Frank Sinatra, he recorded “Stammpede” in 1982, heralding his re-dedication to a solo Jazz career.
In 1991, Stamm released “Bop Boy,” a quintet CD featuring tenor saxophonist Bob Mintzer, drummer Terry Clarke, pianist Phil Markowitz and bassist Lincoln Goines. A follow-up CD, “Mystery Man,” was released in 1993, again featuring Mintzer and Clarke, but this time in the company of pianist Bill Charlap, bassist Mike Richmond and saxophonist Bob Malach.
In November 2000, Mr. Stamm released two new CDs on his newly formed Marstam Music label. The first, a duo CD, “By Ourselves,” documents Mr. Stamm's long-time collaboration with pianist Bill Mays. The second CD, “The Stamm/Soph Project,” is a quartet setting created with drummer Ed Soph that features bassist Rufus Reid and pianist Bill Mays with saxophonist Dave Liebman guesting on three tracks.
November 2001 saw the release of “Elegance,” a quartet CD featuring the remarkable young pianist from Sweden, Stefan Karlsson along with bassist Tom Warrington and drummer Eliot Zigmund.
“The Stamm/Soph project - Live At Birdland,” released in 2005, features Mr. Stamm's working quartet of Bill Mays, Rufus Reid, and Ed Soph, with guitarist John Abercrombie guesting on several tracks. Recorded “live” in the club over two evenings, this CD represents the quartet in a natural Jazz setting, showcasing all the members at their creative best.
The Stamm quartet's most recent project, “Alone Together,” is a two-disc set, both a DVD and CD, released in October 2007. This live concert was videoed and recorded at Rising Jazz Stars, an intimate concert venue in Beverly Hills, California and again presents his working quartet with Bill Mays, Rufus Reid, and Ed Soph. The new release like Stamm's other work has received excellent reviews from critics and fans alike.
Critical response to Stamm's work over the years has been highly enthusiastic. Downbeat reported that Stamm “has a gorgeous tone on the trumpet and flugelhorn, and he flies through the changes.” JazzTimes said that “the Memphis native has chops and talent in abundance. He can burn on bebop changes, or mellow out on a ballad, all the time maintaining the lucid consistency that enthusiasm and experience engenders.” Jazz Review states, “It is a pleasure listening to the work of Marvin Stamm, anytime! Stamm is a musician's musician, performing flawlessly on his trumpet and flugelhorn.”
Consciously acknowledging his debt to the influence and guidance of former teachers and fellow musicians, Marvin Stamm also commits a good deal of his time and energies to helping young music students develop their own voices. His involvement in Jazz education takes him to universities and high schools across the U.S. and abroad as a performer, clinician and mentor, perpetuating the traditions of excitement and innovation that Jazz represents.
