FB: Welcome back to the Berklee Oral History Project. Today our guest is Rev. Mark Harvey, who's been a colleague and associate on the Boston music scene for 35+ years. Mark is a unique personage in the music world who's a band leader a minister and a trumpet player and always been a bit of a philosopher. Welcome aboard Mark. MH: Thank you Frank. FB: It's nice to have you with us. MH: Thanks for inviting me. FB: I'm just gonna give you a quick quote from Mark Harvey's liner notes to his one of his 8 albums with the Aardvark Jazz Orchestra on the Leo, half of them are on the Leo label. And we'll just use that as a springboard for a wide ranging discussion. "Music is always about life about people places experiences about joys sorrows longings and most of all about the vital essence of life itself. Music that speaks honestly about this deeply human activity it can also be deeply spiritual. And if it joins personal with social concerns, profoundly religious in the best and broadest sense." That seems to kind of encapsulate your goals and aims as long as I've known you. It's a real apocalyptic and embracing vision I think. Idealistic in the best sense of the word and one that has alwyas shown a deep knowledge of music and a love for your fellow musicians. I'm just wondering where to go with that. Whether we want to try to talk about how you've managed to evolve and fulfiill some of this vision over your career maybe just in the broadest strokes. MH: Sure. Well I would say that basically going back to my youth I grew up in upstate New York, a town called Bimington, the city of Bimington. I had in my family both ministers and church musicians and so the combination of religion and music was always right there in the family. It's just that no one else had ever done it with jazz. So various of the family looked at me a little a scants as I went off my own pathway. But I had a very good public school music education and I came along just at the time of the Marshal brown Newport youth bands in the late 50s. And so there was a guy named Jack Peters who did similar type of thing in Bimington at the local cultural center, which was a jazz big band. We played some of those charts, you know you look back on 'em now and say well maybe they weren't the greatest charts, but he also was going down to New York so he got some very hip charts. So from the time I was in junior high I was playing some pretty good music and then my high school band director who was also my trumpet teacher he was a very strong jazz guy. So we also played things in our what they used to call Stage Band. But some very good stuff. So I had a very good overall strong music education but also in terms of jazz. Then I went to college I went to Syracuse University. And again, I continued these different interests. I was in the chapel program was heavily involved there. Also in the school jazz band which at that time was not an official activity. So we literally had to sneak into the music school after hours and rehearse. Again we had some people who had some very hip charts. Johnny Richards and some other people Manny Alb?? played some really good music. And that's where I began to write and I began to compose jazz liturgy. Those are my first attempts at composition, which I staged in the chapel with our hundred voice choir. So, these interests of mine have alwyas been together and when I came up here I came to BU to go to the School of Theology and then stayed for graduate school after that. And I just kept melding and blending all of these interests so what you read in that statement I've tried to put into practice along the way and that's sort of the nutshell summary of how it all got going.