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Smooth and elegant, the Mark Harrison Quintet excels at contemporary
jazz. With the emphasis on saxophone and keys, this is ambient music
that is progressive in structure and fanciful in execution. Harrison's
material consists of tight, classically-styled instrumentals that flow
through the air and carry you to a warm, soothing place. Although the
music was sophisticated in its nature, it was also accessible and an
easy listen. This was music to dream to, music that lifts your spirit,
and inspires. Harrison's beautiful jazz stylings have the ethereal
capacity to transport his listeners into another realm.
All of the players in the group were excellent. Walther had a dynamic
touch that had his drums whispering one moment and scatting the next,
while Hill (bass) kept the rhythms solid and understated, never
overwhelming the top end. Klimek's sax was especially sweet and pure
compared to Smith's guitar which added a jazz-rock flavor. Then there
was Harrison who wrote the material and led the ensemble as the musical
director. He played with a high level of skill and passion that gave
every song a soul.
If contemporary jazz is your cup of tea, the Mark Harrison Quintet will
fill your needs. They are an accomplished group, playing the type of
music that will take you away from the realities of everyday life rather
than jarring you into them.
BERNARD BAUR
MUSIC CONNECTION MAGAZINE
JANUARY 2000
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Lunaria, on Santa Monica Blvd. features jazz every night, performed by some of LA's top players. When we stopped by, Mark Harrison, an affable guy who could pass for an accountant, set up his keyboards to jam with his Quintet. The first note tells you he's no accountant, though!
Harrison's all original program had the appreciative crowd popping fingers, tapping toes and swaying, as the old saying goes, to and fro. His inventive styles often feature John DePatie's guitar blending into the sax, while Jacky Klimek runs the scales on her horns with a soulful mellowness that belies her young years. When she plays, it's like a silk ribbon surrounding the notes.
We liked Madera Drive, with it's catchy opening interplay between Ray Frisby's drums and DePatie's guitar, and in Comfort Zone, Graham Hill showed how that 5th string on his bass adds a warm depth to the melody line. The eclectic arrangements have an edgy sound, with tempi that range from smooth to frenetic, dynamics from whispers to wailings, and moods that transport you to seldom visited musical realms.
JOSE RUIZ
ENTERTAINMENT TODAY
SEPTEMBER 2003
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Talk to Mark Harrison and he's quick to share the credit with the four talented musicians that collaborate in producing his music. Harrison creates unique chord structures and rhythms that have the listener feeling very cozy as one becomes accustomed to a certain flow, only to throw a sudden change, a different beat, or a subtle progression, jarring you out of the comfort zone as a new theme jumps in your face. If asked to describe his music in two words or less, one would have to choose "uniquely inventive".
Don't be fooled by Mark's quiet demeanor. The gentle, bookish person suddenly becomes a twenty-fingered monster at the keyboards, running scales and progressions as if they were his private domain, giving a gesture or a signal here and there so the musicians know their cues.
"The Road Ahead" (Mark's recent CD) has many of the numbers played at "The Spud", but there is an edginess in the performance that no recording can capture, and some pieces just must be heard live to appreciate them. The Quintet play in various venues around town; if you're a fan of jazz played with style and imagery, then you need to keep checking the clubs to catch their next gig.
REVIEWPLAYS.COM
(Music and theater review website)
JUNE 2004
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Pianist Mark Harrison presented his contemporary jazz quintet at The Baked Potato in April. Guitarist Mark Chosak states, "What I enjoy most about Mark Harrison's music is that it is both challenging and interesting for the players, while accessible and melodic to the ear of the listener".
Harrison's high-energy, exciting band consists of Mark Chosak on guitar, Jacky Klimek on sax, bassist Steve Billman, drummer Matt Starr and of course, Harrison on electric keyboard. Not all musicians have the mindset to play this style of jazz, but these musicians make it come off very well.
"Live and Learn" was a high energy piece with Harrison in complete control at the electric keyboard, with Starr's steady drumming behind him. Klimek and Billman were given plenty of solo space. This one got funky with tight ensemble work and had a nice groove to it. Billman was really digging in on his bass. The band had good control of the dynamics and the crowd enjoyed it a lot. "Fries With That" was done at a lively tempo, but was lighter in mood. Klimek played the alto sax with a lot of energy and fire on her solo, as Billman and Starr established a solid, rhythmic pulse.
"So Far So Good" was a new chart, a 12/8 shuffle. it moved along nicely, still in the contemporary style. It had a pleasant theme, played by Klimek's alto sax with fine comping from Harrison. The tune had a good rhythmic feel, with a strong beat from Starr and a solid bass pattern from Billman. Chosak was in top form during his exciting solo. It was a real foot tapper and I enjoyed it a lot. "Comfort Zone", from their (forthcoming) second CD, was more mellow in nature, much easier and lighter. It had solo spots from Chosak, Harrison, Klimek and Billman and they all made the most of their solo time. It was very soothing and graceful.
"Are We There Yet?" was done at a brisk tempo, very intense. Starr's drumming was solid and swinging and the tune had a haunting effect. Chosak and Klimek were outstanding on their solos. "Just Add Water", a new composition, was an uplifting piece that came off very well. The set closed with "Please Remain Calm" which was done at a fast tempo. I enjoyed the group's spirit and energy and their musicianship. The crowd was attentive and enjoyed the performance.
BOB COMDEN
L.A. JAZZ SCENE
JUNE 2005
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