js “Proof of Light” is the latest offering from guitar virtuoso Mark Wingfield, and it shows him taking on new horizons with his expressive guitar style and contemporary concert hall influenced compositions. This is fusion of the abstract variety, often leaning towards a modern post-bop openess similar to Terje Rypdal, Jan Garbarek or John Abercrombie. Wingfield’s heavily nuanced and fluid sound may remind you of Allan Holdsworth, Steve Vai and the aforementioned Rypdal. Influenced much by horn players, Mark likes to make every note count with constant subtle changes in tone color and slight note bends. Wingfield is working with a bare backdrop of just bass and drums on here, which leaves him plenty of open space for his melodic explorations. Drummer Yaron Stavi supplies that sort of free style drumming that works well with Wingfield’s abstract approach.

Opening track “Mars Saffron” starts things off in a heavy rock fashion, but most of this CD is more in that “ECM” flavored melancholic post bop/fusion style. On “Voltaic”, the band goes absolutely free and crazy for a big sonic blowout that changes things up for a bit. Wingfield has a strong following among fellow guitarists, and that may be his best source of fans, because some listeners are going to find some of this to be a bit on the ethereal and intellectual side of things, Mark’s melodies are more interesting than they are memorable. Although both members of the rhythm section are given solos here and there, for much of this album the only lead voice is Mark’s, and once again its probably best if you are devoted fan of his playing. It does help that Wingfield is a very creative and modern guitarist who is good at avoiding the cliches.

kev rowland Over the years, Wingfield has built up a considerable reputation for being one of the most interesting and dynamic fusion guitarists around, and this 2015 release finds him yet again exploring the outer reaches of what sounds can be achieved on an electric guitar. That he has been influenced by Holdsworth is never in doubt, while the fluidity of Metheny is very much in play, along with some sounds more normally connected with Reuter. In fact, the other two people involved in this 2015 release are bassist Yaron Stavis and drummer Asaf Sirkis, and the three of them would soon join together with Markus Reuter to release the wonderful ‘The Stone House’.

Recorded in just two days, this is music that can only be created when everyone is totally confident in their own ability, and in each other’s, so that the music just flows like a river. All three at times appear to be following totally different musical paths, yet somehow it all connects together in manner that is full of space and light. All three are listening to the input of the others, while also creating something that is vibrant and dynamic. Sometimes the ears become distracted by the way that Stavis is creating his own melody, or Sirkis is driving though in a totally different manner, and focusses on them as the lead instrument before coming back to Wingfield. There are complete sections where he allows the others to take the lead and he hardly pays at all, waiting the right moment to come back in. The guitar stylings are quite unlike what many other musicians are producing, and the result is a distinctive sound that is refreshing, beguiling, innovative and entrancing, all at the same time.

memowakeman For the last couple of years I’ve been introduced to the Moonjune Records catalogue, which features amazing musicians & bands from around the world whose music offers high quality in the jazz / rock / experimental scene; music that without a doubt, should expand horizons. One of the latest artists I was introduced to is Mark Wingfield, who in 2014 recorded and released “Proof of Light”, a 9-track album in which Wingfield shares credits with Yaron Stavi on bass, and Asaf Sirkis on drums.

The album opens with “Mars Shaffron”, which shows a nice jazz rock (rockier than jazzier) where guitars put a kind of heavy sound which is complemented by drums and bass. After a minute, the music slows down a bit and now the jazz side is much more evident, Wingfield’s guitar now produces endless different notes, but I can’t say it is a solo, no, it simply gives power to the guitar and let it guide us. I like a lot the use of keyboards as background, and the great bass base during the whole track. All of a sudden, the second song entitled “Restless Mountain” begins. The mood seems to be alike the opener, but in moments it explodes and for a split second becomes heavier and faster, however, it always returns to a mid-tempo rhythm where guitar stands out. In moments, drums also explode and give us entertaining passages.

I am not sure if this might enter into the fusion realm, I would say no, I would describe it more like experimental jazz, maybe avant-garde where guitars are the main act, but are wonderfully complemented by bass, drums and keyboards. Honestly, it took me at least three listens to dig the album and found its pure beauty, which can be perceived in “The Way to Etretat”, a beautiful 7-minute song. It is a melodic tune, quite dreamy in moments, where bass delights us with a solo while drums are constant and in the right place.

The names of Allan Holdsworth or John Abercrombie might come to your head in some moments, I think Wingfield’s guitar sound has some reminiscences of those legendary guitar players, though of course, Mark produces his own and particular style. “A Conversation we Had” is the next track. Let me tell you that the album itself is like “a conversation”, because the style is pretty similar in all the songs, of course there are highs and lows, there are changes, but it has a unique essence; it is like having a 53-minute conversation with Mark Wingfield.

What I cannot deny, is that my enthusiasm towards that conversation was not in the same level during those 53 minutes; there were moments where I felt a bit bored (sorry, I can’t lie) and was expecting a surprise, something really different to light me up. “A Thousand Faces” is the shortest track, here the guitar makes constant soft changes, but in the end, I could not find the thousand faces after all.

On the other hand, “Voltaic” is the longest composition, the most powerful and my favorite of the album. Since the very first second we listen to an explosive sound, heavier tunes, fast moments, dramatic turbulences covered by a sensual jazz atmosphere. After a minute, it slows down, the wind blows and a kind of tense and doubting passage appears. I am not sure if this was an improvisation or a true composition, because the musicians seem to be free, seem to be enjoying their brief craziness. “Summer’s Night Story” has a juicy in moments delicious sound, but I sometimes feel Wingfield and the guys could add more power to the music, which is gentle and soft, but lacks of a persuasive element that make you feel caught and with no exit. I mean, it is not difficult to be distracted by another non-album sound, it is not difficult to skip the song, and it is too difficult to remember it.

Of course, this album and its songs are not memorable song, I think that is not the aim, but I would have loved to find that element that made me think of it as a unique release, as a work or art. “Koromo’s Tale” is a soft piece that starts with bass playing the main role, while drums and guitars produced softer sounds. Despite the bass is what most caught my attention here, it is evident that Wingfiled’s guitar is the official album’s guide. Finally, “Proof of Light” is another great song, one of the two or three I really loved. It is evident that to my likes, I prefer more the faster-heavier-rockier moments, and this last song is one of them.

A very good album, it is something different, nothing to do with the regular jazz album, which is great because it means the artist has something diverse to tell; however, I am not a devoted, and can’t qualify this album as a memorable one.

Enjoy it!