“Liner Notes” is a Sounds Visual Media spinoff series where musicians, composers, DJs, beatmakers, and collectors dig into their crates to share favorite records. In this installment, bassist Hannah Marks discusses her new album, Feed the Fire, which features her powerhouse acoustic quartet in a genre-blurring jazz exploration that honors New York City’s energy and her own commitment to musical innovation. Marks also explains how her sound was forged from the high-velocity “battle jazz” of Branford Marsalis, the raw melodic geometry of Thelonious Monk, and a bass philosophy rooted in the interactive emancipation of Scott LaFaro.

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Hannah Marks: Hi, I’m Hannah Marks—a bassist, bandleader, composer, and educator based in Brooklyn, New York.

I’m thrilled to announce my second album, “Feed the Fire,” releasing June 12th on Endectomorph. This project has been a long time in the making, and I was incredibly fortunate to record it with my long-standing quartet: Nathan Reising (alto saxophone), Lex Korten (piano), and Stephen Crammer (drums). I was also honored to have the legendary Jason Moran serve as our producer.

This record is a celebration of my seven years in New York City. The music represents the sounds that have inspired me here, intertwined with the compositions that first sparked my love for jazz during my childhood.

Track Spotlight: “Aggro”

This original piece was inspired by the electric energy of The Jazz Gallery. It opens with a bass ostinato I wrote during the pandemic, featuring a counter-melody influenced by Ambrose Akinmusire’s writing. During production, Jason Moran noted that aggression needs a resolution; acting on that, I added a hymn-like coda to close the piece on a tender note. I’m proud to share that this composition recently won a Young Composers Award from the Herb Alpert Foundation.

Track Spotlight: “Feed the Fire”

Written by the late Geri Allen, this tune provided the title and aesthetic blueprint for the album. I first met Jason Moran in 2019 at the Kennedy Center’s Betty Carter’s Jazz Ahead program. He encouraged me to move to New York, promising his support. Shortly after I arrived, I saw his trio, The Bandwagon, perform this song at the Village Vanguard. Their explosive, free interpretation—especially Nasheet Waits’ drumming—blew me away. As an Aries and a passionate person, “Feed the Fire” became my personal mantra to keep my creative flame alive in a challenging industry.

Sounds Visual: Let’s dig into the crates for a second. If you had to select the definitive records that serve as your personal north star, which ones are we dropping the needle on?

HM: Branford Marsalis, Crazy People Music (Sony, 1990): My friends call this “Battle Jazz.” I love the forward momentum and vigor. We even recorded a cover of Robert Hurst’s “The Dark Knight” from this album, adding our own twist.

Thelonious Monk, Thelonious in Action (Riverside, 1958): Monk’s melodic construction heavily influenced my track “On the Speedy Side of the Pool.” I’ve been diving deeper into his catalog lately while playing with guitarist Miles Okazaki. I love the “imperfections” and raw energy of this live recording.

Bill Evans Trio, Sunday at the Village Vanguard (Riverside, 1961): I often cite this record when teaching because Scott LaFaro’s playing essentially “emancipated” the bass. His level of interaction is what I aspire to in my own rhythm section.

Dave Holland, Conference of the Birds (ECM, 1973): Holland is a massive influence as both a virtuoso and a composer. This record took me a long time to fully digest, but its brilliance has been speaking to me lately.

Pat Metheny, Bright Size Life (ECM, 1976): This is a top-five album for me. Hearing Jaco Pastorius in the 8th grade changed my life. It showed me how melodic and prominent the bass could be—a philosophy I carry into every note I play today.