With this on his mind, Brownstein stayed in Maui for two weeks with his long-time female “travel buddy” and best friend. Through the course of their vacation, the two’s relationship evolved into more than just travel companions. Brownstein put it simpl y: “I left with a friend and came back with a girlfriend.” Marc also began snorkeling and exploring the natural beauty found in Hawaii. He spoke of rain forests, craters, volcanoes, and the universe which exists underwater. It was below the surface of the water that Brownstein came to grips with a startling paradox: sometimes to see clearly you have to put a mask on. Brownstein realized that, no matter what happened with his musical career, he could always move to Hawaii and be happy.

Combining the effects of his medical disorder, his new girlfriend, and a new appreciation for natural beauty (and snorkeling), Brownstein returned to the mainland with a new perspective on life. It was as if Marc had realized how much there is out in the world besides any one band. As the Disco Biscuits began getting bigger and bigger, their bass player started realizing what it would take to be in a huge rock band. “If you want to be in a successful touring band you have to want to be there at all times,” Brownstein said. As time went on, and the band kept touring, each of the band members started moving in separate directions. Brownstein is very quick to point out, however, that not one (or even two or three) things can be blamed for his split with the band.

Do not be fooled in thinking that Brownstein parted ways with the band on good terms. Make no mistake about it, the split between Marc and the Biscuits was not pretty. Brownstein may maintain that he left the band while the other members of the Bisc uits may say he was “asked to leave.” I do not intend to tell that story and I did not even attempt to contact the remaining members of the Disco Biscuits for their comments. This article is about The Maui Project and Marc’s perspective on what has happ ened in his life over the past year or so. It is pretty clear to me, in the course of compiling information for this story, that certain pieces of information are not going to be offered for public knowledge any time soon. Marc was very honest with me, saying “it was an ugly break-up” and “I’m very sad that it had to end the way it did.”

Brownstein’s initial thought as an independent musician was to hang his bass on the wall and maybe even apply to law school. Making music outside of the Disco Biscuits realm was a daunting thought as Brownstein learned to play bass over the course of seven years with that band and that band only. One night, about a week after the news became public, Brownstein got a call from Jake Szufnarowski, talent buyer for Wetlands Preserve, inviting him down to a jam session/party that was being held at a prac tice space to discuss what had happened with the Disco Biscuits. Szufnarowski thought it would be a good idea to get Brownstein to show up since many people at the jam session were fans and were feeling very sad about the news. Brownstein agreed to atte nd in hopes that he could add a positive vibe to the evening.

Szufnarowski also had his roommate, DJ Stitch (Mike Magee), attend the jam session. Paul Herron, assistant lighting director on the last Biscuits’ tour, was playing percussion as the jam started heating up. “I was ripping it up,” said Brownstein, “a nd Mike was shredding on turntables…Pauly was playing percussion.” After the jam, Marc walked over to Stitch and said that Jake should give them a gig. “I’ll even make him pay us,” Brownstein joked. The idea was so absurd that Brownstein began seriousl y considering it.

Energized by the impromptu jam, Brownstein went home and started composing music. Marc reflected on his trip to Maui and began writing songs about the experience. He returned to the original paradox highlighting the importance of perspective: som etimes you can’t see clearly without altering your vision. When you snorkel, if you do not wear a mask you cannot see all that is right in front of you. Brownstein made a conscious effort to shift his sense of loss over the Disco Biscuits and turn a ll of his negative emotions into something positive. According to Brownstein, The Maui Project is about “freedom, perspective, truth, reality, hope and change.” In the past two months he has penned 12 songs (which are not yet completed), all of which “h ave relative importance to each other…it’s a story.” Before long, April 8th (Marc’s birthday) was booked at Wetlands Preserve in New York City for Brownstein’s new project.

With Herron and DJ Stitch in place, Brownstein had to put together the rest of his band. He consciously wanted to pull musicians from smaller, younger bands. Marc also made it a point to choose people who he felt would be very excited about the proj ect. Max Delaney of Uncle Sammy was Brownstein’s first choice on guitar. The Disco Biscuits and Uncle Sammy have played a few shows together over the past few years and “Marc became a big advocate of Uncle Sammy,” said Delaney. For his drummer, Brownst ein thought that Dave Hoffman from ulu was a perfect fit. Initially, there were no plans for a keyboardist, but Brownstein (and Szufnarowski) thought that Jaime Shields from the New Deal would add a nice techno flavor to the group.

In speaking with all of the musicians who will be a part of the evening, I definitely got a sense of the excitement for The Maui Project’s show. Hoffman remarked that “everyone had a smile on their face at rehearsal.” Delaney added that “the energy Marc is bringing into the project is very warm hearted…he’s very much into radiating good vibes.” Herron summed up the theme of the evening succinctly: “F-U-N.” Shields had actually never even met Brownstein prior to three weeks ago when they met up to go to a moe. show with Jake from Wetlands. Shields had this to say: “If you had asked me four months ago if I thought I would be playing in a band with Marc Brownstein, I would have responded, ‘who’s Marc Brownstein?’ Now I know who M.B. is and I’m a be tter person for it.”

As for the music, Brownstein has been working seven nights a week from 1 AM to 5:30 AM to get everything completed. The first set will be The Maui Project with the whole concept album played in its entirety. The Maui Project songs will probably not be the only thing played in the first set, with other songs getting the night going before the concept is started. Brownstein maintains that “they’re the best songs I’ve ever written. It’s some of the first music I’ve ever written that truly and honestl y comes from my soul.” The night will feature a lot of improvisation but not in the typical jam-band style. DJ Stitch will add a serious element of hip-hop to the evening which has Brownstein very excited. “You’ve never heard hip-hop beats with the gui tar jam-band thing on top of it…it’s a new sound.” The second set will feature some surprise covers, old songs that Marc wrote while in the Disco Biscuits, and organic improvisation.

April 8th at the Wetlands is sure to be an interesting evening. According to Delaney, Marc is attempting to create “a surreal kind of tropical rock and roll reality.” Brownstein would not fill me in on any production details, saying that the décor o f the Wetlands will be kept a secret until the night of the event. All Marc would say on this point is: “It’s songs about paradise and I want it to feel like paradise in there.” Brownstein did express his hopes that people attending the show will run w ith the vibe of the night. “I want everyone to come to the show to be in Hawaiian shirts and grass skirts, “ he said.

I want to thank Marc Brownstein, Max Delaney, Dave Hoffman, Mike Magee, Paul Herron and Jamie Shields for being so generous with their time. There is a palpable sense of joy and excitement surrounding The Maui Project and I hope I’ve been able to tra nsmit that in this story. Something Marc said to me gives a good general description of the ambition involved in putting all of this together: “…we’re taking all of these musicians from different bands and putting a theme on it and writing all new music for just one night…I don’t know anybody else who’s done that.”