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Mark Wingfield biography
Mark WINGFIELD is an prolific English guitarist influenced both by jazz greats like John COLTRANE, Miles DAVIS and Keith JARRETT as well as rock musicians like Jimi HENDRIX. Over his career he collaborated with other artists in various line ups which can be separated into projects like the duo with Kevin KASTINGS and the more improvisational work like the WINGFIELD - REUTER - STAVI - SIRKIS group which features musicians also present in his discography that could be interpreted as his solo work. One other groundbreaking collaboration of sorts was also being involved in the internet band ResRocket along with the likes of Peter GABRIEL and Todd RUNDGREN.

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MARK WINGFIELD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Sleeper Street
4.00 | 1 ratings
Proof Of Light
4.68 | 3 ratings
Tales From The Dreaming City

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Showing last 10 reviews only
 Tales From The Dreaming City by WINGFIELD, MARK album cover Studio Album, 2018
4.68 | 3 ratings

Tales From The Dreaming City
Mark Wingfield Jazz Rock/Fusion

Review by progpromoter

4 stars Mark Wingfield is considered Allan Holdsworth's heir. He shows a huge number of collaborations and various albums, produced by Moon June Records, a house strongly jazz fusion oriented which produced, among the others, part of Holdsworth's discography.

Wingfield's musical compositions are a bit avant garde and were studied in Contemporary Music Department of Goldsmith College in London.

When you listen to this work, you immediately notice that Wingfield's style is far different from Holdsworth's one. Wingfield has an acid timbre and uses a lot of high strident notes, which were never used by Holdsworth, who was more warm and melodic. But in the phrases we can find some analogies, mostly in the more intimate songs as "Loking Back at The Amber Lit House", even if there are less powerchords than in Hodlsworth compositions.

Wingfield is assisted by proficient musicians as Asaf Sirkis on Drums, Dominique Vantomme on synth and Yaron Stavi on bass, but in this work he leaves only a little space to his musicians, who create a comfortable carpet of sound where he can express his music.

The entire album is pervaded by a mood of anxiety, fear, uneasiness and melancholic onirical sceneries. Rarely there's a ray of light, and if... it's almost that unfamiliar one which forces you to the awakening.

The album is generally very impressive, but not quite easy to approach. Reccomended to lovers who like to deepen in not usual sounds and harmonizations, however highly fascinating!

 Proof Of Light by WINGFIELD, MARK album cover Studio Album, 2015
4.00 | 1 ratings

Proof Of Light
Mark Wingfield Jazz Rock/Fusion

Review by memowakeman
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Review originally posted in

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!

 Tales From The Dreaming City by WINGFIELD, MARK album cover Studio Album, 2018
4.68 | 3 ratings

Tales From The Dreaming City
Mark Wingfield Jazz Rock/Fusion

Review by memowakeman
Special Collaborator Honorary Collaborator

5 stars Review originally posted in

What an amazing album!

Well, it's been a great journey since I was invited to discover Moonjune's family, it's been pleasant to know low- profile musicians from around the world whose talent is huge, and even more pleasant to see those musicians playing in each other's records, just as it happens here in this superb Mark Wingfield album, who is supported by Yaron Stavi on bass and Asaf Sirkis on drums, along with Dominique Vantomme as a guest synth player in some tracks.

My previous Wingfield's experiences have always given me good moments, starting with 'Proof of Light' and the improv collaborations with Reuter, Sirkis and Stavi, this British axe-man is something serious, he has a personal touch that brings the listener delicious and innovative sounds that can be perceived on this 10-song album full of different realms such as jazz, prog and rock. The beauty starts since the very first second of 'The Fifth Window', with a jazzy and experimental guitar that sometimes cries and sometimes invents some odd tones that are amazingly complemented by the Stavi-Sirkis fort, musicians that are not only professional, but friends, and believe me, this great friendship has given really positive results.

'I Wonder How Many Times I've Fallen' has a darker sound, I even perceive a kind of mid-eastern sound as background. The musicians develop solid arrangements and all of them show their huge talent and understanding. After minute two there is a pause, a kind of dramatic moment where Stavi's fretless takes the wheel and then they re-start the trip. Two minutes later is Sirkis who stands with amazing drums, letting us know that the 3 are equally important. 'The Way to Hemingford Grey' is another wonderfully crafted piece that shares a diversity of colors and emotions. I like how it powerfully starts and then calms down, changing the direction and returning, changing and returning once again. It is a great trip, yeah!

'Sunlight Cafe' keeps surprising us with Wingfield's style, man, it is really great to listen to his amazing tones, melodic but challenging, I don't listen to someone doing this very often, to be honest. The complexity of the songs don't really give you catchy moments, however, I am sure there are passages you will easily remember. 'Looking Back at the Ambert Lit House' is a soft and delicate track that features a delicious synth solo by Dominique Vantomme, it is great to listen to his keys because they add atmospheres that does not harm at all the work of the band, in fact, is a very positive complement. I love Sirkis' solos during the album, he can be heavier but refined, an authentic maestro.

The great journey continues with 'This Place Up Against the Sky' in which the band return with various changes that share a plethora of nuances and textures, the sound is simply captivating, delicious, amazing to see the three guys playing different roads but sticking together as one. The song makes a sudden stop at minute 5 and vanishes with a mysterious sound. Then, some steps can be heard, meaning we are now listening to 'At a Small Hour of the Night'. Soundscapes can be appreciated here, reminding me a bit of some Crimsonian textures. The track's development is slow, again mysterious and even relaxing if you ask me, however, it might be a bit difficult to feel embraced, at least in the first listen (it happened to me). By the way, this is the only track of the album whose credits are not by Wingfield alone, but by the 3 sirs.

'A Wind Blows Down Turnpike Lane' returns to the let's say classic sound of the trio in a comprised way, I mean, this is the shortest composition but the sound and the musicianship is always rich and captivating. With 'Ten Mile Bank' an emotional sound appears, guiding our senses to a new exciting journey. Open you ears and soul, and I bet you will feel enchanted but this track's charm, that includes once again, a wonderful collaboration by Vantomme.

The album finishes with 'The Green-Faced Timekeepers' which to my ears could work as a movie soundtrack. The musicianship is outstanding once again, and in the end they surprise us with the only vocals on the album. Great! Wingfield's style is one-of-a-kind and I feel fortunate to have been introduced to it. Spectacular album that you should not miss!

Thanks to historian9 for the artist addition.

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