Chicago-based fusion band Marbin plays Asheville Music Hall

AGGRESSIVE HIPPIES: While Marbin's brand of jazz-rock fusion might not please jazz purists, the hardworking instrumental quartet has built up a loyal following in the jam, progressive rock and festival scenes.
AGGRESSIVE HIPPIES: While Marbin's brand of jazz-rock fusion might not please jazz purists, the hardworking instrumental quartet has built up a loyal following in the jam, progressive rock and festival scenes. Photo by Zhanna Slor

A cynic might say that the defining characteristic of jazz-rock fusion is that it pleases neither the jazz fan nor the rock aficionado. But after a few years playing together in Marbin, guitarist Dani Rabin and saxophonist Danny Markovitch found that they had, in fact, become a fusion band. And the group’s success challenges the idea that fusion can’t be both adventurous and accessible. In support of its sixth and latest release, Goatman and the House of the Dead, Marbin plays the Asheville Music Hall on Friday, June 30.

The Chicago-based band came together by chance. Markovitch and Rabin met in Israel in 2007; Rabin had recently graduated from Berklee College of Music in Boston, and Markovitch had just finished Israeli military service. The two had been hired for a studio session with a drummer. “But the guy got food poisoning” and didn’t show up, Rabin recalls. With the studio already booked, Rabin and Markovitch decided to play and record without the drummer. The music they made together was mostly “free improvisation,” Rabin says. They named the new project Marbin, based on a combination of their surnames.

Musical opportunities brought them to Chicago with a drummer in tow, but there the earliest lineup of the group fell apart. Back down to a duo, Rabin says he and Markovitch “started doing our own thing; we kept writing together.” Their self-titled debut album was released in 2009. Rabin describes that early effort as “lots of loops and texture, but not really fusion.”

The pair had some trouble adjusting to Chicago weather. “It was so cold, and we were sick of going out in the winter,” Rabin says. “So we decided we were going to throw shows at home and have the audience come to us.”

At one of those house concerts, a friend of a friend showed up. His name was Leonardo Pavkovic, owner of jazz/progressive record label MoonJune and then-manager of legendary fusion guitarist Allan Holdsworth. Rabin recalls that Pavkovic loved their music and wanted to release Marbin’s next album.

But there was a catch. “He told us that in the States, you don’t have a chance if you don’t play with drums,” Rabin says with a laugh. “Because people need to have this music banged into their heads.”

They took Pavkovic’s advice, adding a drummer and releasing Breaking the Cycle in 2011. In support of that album, Marbin started a full-time touring schedule. “Three hundred days a year,” Rabin says, “and we’re still doing that.”

Along the way, the band discovered that Pavkovic’s instincts about adding a drummer were spot-on. “We play at such an intensity and a volume that people have the choice of staying or running away,” says Rabin. “You can’t have people there talking. You have to put them in a fight-or-flight mode.”

By the time Marbin released its third album, 2013’s Last Chapter of Dreaming, the band had become a four-piece including bass guitar and drums, and the music had developed a distinctly jazz-rock fusion character. Rabin says that his electric guitar tone is off-putting to jazz purists: “It’s very saturated, and that comes from the rock side of things.”

He adds, “I don’t think there is such a thing as a jazz audience anymore.” Rabin characterizes Marbin’s fan base as an eclectic mix: “We have bikers, we have hippies. We have some jazz fusion people, prog people … really, a collection of everybody.”

Rabin is nonplussed when asked how his and Markovitch’s Israeli identity manifests itself in Marbin’s music. “It might be a little Jew-y?” he offers with a chuckle. “There’s probably a little bit more European stuff in there. We’re Israeli, but, in all fairness, my family was in Israel for [only] 50 years,” he points out. “Before that, we took a 2,000-year break in Europe.”

Whatever Marbin’s influences might be, the guitarist says that he can’t control the outcome when he sits down to write a song. “There’s only one way to write music,” Rabin says. “You’ve got to ask yourself, ‘What is good?’ and then see what’s in there.”

WHO: Marbin with The Get Right Band
WHERE: Asheville Music Hall, 31 Patton Ave., ashevillemusichall.com
WHEN: Friday, June 30, 9 p.m. free

SHARE
About Bill Kopp
Music journalist, historian, collector, and musician. In that order? Perhaps. My book, "Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon," will be published in 2018 by Rowman & Littlefield. Follow me @the_musoscribe

Before you comment

The comments section is here to provide a platform for civil dialogue on the issues we face together as a local community. Xpress is committed to offering this platform for all voices, but when the tone of the discussion gets nasty or strays off topic, we believe many people choose not to participate. Xpress editors are determined to moderate comments to ensure a constructive interchange is maintained. All comments judged not to be in keeping with the spirit of civil discourse will be removed and repeat violators will be banned. See here for our terms of service. Thank you for being part of this effort to promote respectful discussion.

Leave a Reply

To leave a reply you may Login with your Mountain Xpress account, connect socially or enter your name and e-mail. Your e-mail address will not be published. All fields are required.