Michael Martyniuk
Can you share the story of your journey from Poland to New Zealand, and how these different cultural experiences have shaped your music?
When I moved to New Zealand at 18, I was driven by a desire to travel, meet new musicians, and pursue my passion for studying jazz. However, upon arriving in Auckland, I was surprised to discover that the jazz scene was much smaller than I had hoped, with far fewer jazz clubs than I had envisioned. Despite this, I decided to continue my studies and immerse myself in the local jazz performance scene.
Coming from Poland, where jazz thrives and the scene is vibrant, it was challenging to adjust to the limited opportunities in New Zealand. Yet, this experience allowed me to explore different cultures and musical genres. I've had the privilege of being part of various groups, ranging from hip-hop and RnB to traditional Māori music, performed by some incredible musicians.
I also learned a new language, which, in hindsight, was a valuable experience. Many pianists I hear today are technically excellent, but they often sound similar, shaped by their formal education and a focus on jazz standards. My journey, however, forced me to adapt and blend various musical styles, helping me discover my own unique voice. For that, I am truly grateful.
Your music blends traditional jazz with contemporary influences. How do you find the balance between honoring jazz’s roots and pushing the genre forward?
For a long time, I struggled to decide which musical direction I wanted to focus on and be recognized for. While I have a deep love for traditional jazz, I've found myself increasingly drawn to music that centers around groove. For me, groove is everything.
In addition to this shift, I’ve been inspired by some incredible producers and have ventured into music production myself. Donald Fagen, with his slick and polished production style, has always been a major influence on me. At the same time, I have a deep appreciation for recordings that capture the raw, unedited essence of a single take, where you can truly feel the music without the layers of perfection that the production process often adds.
I strive to strike a balance between the polished aspects of production and the organic, live elements of music. This balance is always on my mind when I’m playing live. I enjoy the structure, but I also love allowing the music to take me to unplanned places in the moment.
Your album “Nothing to Prove” received critical acclaim. What was the inspiration behind this project, and how did it come together?
"Nothing To Prove" was the first album where I took on everything - writing, arranging, and performing - completely on my own. I wanted to challenge myself, to see if I could truly do it all. Looking back, I realize that I needed to prove something, not to others, but to myself.
I've been fortunate to play with some incredible and often much older musicians who have both inspired and, at times, intimidated me. I often felt like I had to catch up to their level of talent. But now, I understand that those feelings were all in my head.
Creating this album was a reminder to stop overthinking and to let go of the need to prove myself to anyone. It taught me to trust my instincts and focus on the music itself.
As both a performer and a composer, how do you approach the process of creating new music? Do you start with a concept, a melody, or something else entirely?
It really depends on the approach. As a pianist, I often find that harmony is the easiest entry point for starting a new idea or composition. I’ll play around with a series of chords to see where they lead me. Once I have a solid chord structure, the melody usually follows naturally, often emerging from the top notes of the voicings or sustained notes within the changing chords. This process has always felt intuitive to me.
However, these days I’m focusing more on melody. I try to come up with a strong melodic idea first and then build the chords around it, starting with simple harmonies and then gradually reharmonizing them. Recently, I’ve also been experimenting with starting compositions by focusing on the bass line - there’s something about a great bass line that really drives the music.
These are just a few of the ways I approach the creative process, each offering a different path to discovering something new.
Jazz is known for its collaborative nature. Can you talk about some of your most meaningful collaborations and what you’ve learned from working with other musicians?
Playing music with others is a lot like being in a relationship. Sometimes, the connection is effortless from the start, while other times, you have to step back, listen, and let the other person take the lead. It's all about listening and finding a balance, much like in a real conversation. Just as in any good dialogue, the best musical exchanges happen when everyone involved is actively listening and responding, allowing ideas to flow naturally.
Of course, there are people who dominate the conversation, never giving others a chance to speak, but the best interactions - musical or otherwise - are those where ideas and opinions are shared freely and respectfully.
As musicians, we all have something that can be both a strength and a stumbling block: ego. You can have the most skilled musicians in the world in the same room, but if their egos are too big, it doesn't matter how great their technique, timing, or knowledge is - it can still be challenging to have a meaningful musical conversation with them. For me, the best musicians are the ones who truly listen. You don't need to come to a rehearsal with a bunch of ideas; it's enough to listen to the other musicians and respond to their ideas. This creates something fresh and new, different from what we might play alone in a room.
Recently, I had the pleasure of performing with Nathan East and Jeff "Tain" Watts at the Made In New York festival in Montenegro. Before meeting them, I wondered if I was good enough to play alongside such legends. But once we started playing together, all those doubts disappeared. Nathan East moved close to me at the piano, listening intently to every note I played, and responded with such clarity and sophistication. It felt effortless, as if we were just bouncing ideas off each other, with no one leading the conversation - we were simply talking through our instruments. He made me feel so comfortable that I didn’t even think about playing any of the licks or chops they teach you in jazz school. We were just having a conversation. It was an amazing experience.
Of course, there's also the art of performing solo. In my opinion, solo piano is one of the hardest things to do. You're completely exposed, with nowhere to hide. Only a few can truly master it!
Name 3 special performances that stands out as a defining moment in your career?
Performing at the Java Jazz Festival with my band in 2017 was the first time I truly felt like I was living my dream. We played on the big stage, right after Chick Corea and his incredible band, which was surreal. The crowd at the festival was incredibly supportive, making us feel like superstars. That live gig was something special to me, and it’s actually available on YouTube.
Shortly after, I won second place in the Made In New York Jazz Competition, which led to an invitation to perform my original compositions alongside John Patitucci, Randy Brecker, and Francisco Mela. What can I say? I was beyond nervous and could hardly believe it was happening. It was truly a dream come true to meet these jazz giants and share the stage with them in New York. Even now, it feels unreal.
More recently, I had the incredible experience of performing with more legends at the Made In New York Jazz Festival in Montenegro. As I mentioned earlier, playing with Nathan East, Jeff "Tain" Watts, and Frank Gambale was unforgettable. The festival itself was something special. We played two shows, and by the end, it felt like we had become a family. The music we created together in those few days was a testament to that bond. I sincerely hope to see them all again and make music together once more.
A big shout - out to the man who made all of this possible, creating opportunities for musicians like myself - Michael Brovkine, you are a legend!
How do you stay inspired and keep your music fresh, especially when you’re balancing multiple roles as a pianist, composer, father and business man?
That’s a great question. The past two and a half years have been challenging when it comes to focusing on music. My two-year-old daughter has completely stolen my heart, and I want to spend every possible moment with her while also helping out at home as much as I can. On top of that, there’s the need to make a living, so it’s definitely been a busy time for us.
Despite the hectic schedule, I managed to record new music with my longtime friend Nick Williams in New Zealand. Our project, called After ‘Ours, just released a new album titled “Long Road,” which I’m really proud of.
We also make it a point to visit family in Europe once a year, which gives me the chance to play some live gigs and collaborate with musicians overseas. Oddly enough, I find that sometimes you can be more productive when you’re busy than when you have all the time in the world. If you manage your time well, it’s possible to strike a good balance between work, pleasure, and quality time at home with family.
What is the role of jazz in today’s global music landscaper, and how do you see it evolving in the future?
Sometimes I worry that jazz is slowly fading away, but then I get invited to a major festival and realize just how wrong I am. There's so much incredible music out there.
I believe we, as musicians, could do more to support each other within the jazz community. I make an effort to attend friends’ album releases, buy their new records online, and encourage the next generation to follow their dreams, just as I looked up to older musicians when I was starting out, eager to learn. There’s an abundance of great talent around us; we just need to pay attention, work together as a commu
