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DARK

Jazz Rock/Fusion • Multi-National


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Dark biography
Dark was short-lived multinational jazz fusion band, led by percussionist Mark Nauseef. Band released just two studio albums in late 80-s, quite different between each other in musicians line-up and music contained. Both albums were released on German CMP label.

Debut self titled album, released in 1986, contains jazz fusion, heavily based on ethnic percussion and polyrythms. Besides of Mark Nauseef, there participated bassist Mark London Sims and vocalist Catharine Guard on this release.

Second release, Tamna Voda, contains no vocals, but there participated guitarist Miroslav Tadic, same bassist as on their debut and David Torn and L. Shankar guest on several tracks. This album is influenced by world fusion as well, but main accent is made on high energy musicianship.

Nauseef and Tadic later teamed up with keyboardist Joachim Kuhn and bassist Tony Newton release fusion Let's be Generous album (1991, also on CMP


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DARK discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

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

3.36 | 7 ratings
Dark
1986
4.77 | 7 ratings
Tamna Voda
1988

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DARK Reviews


Showing last 10 reviews only
 Dark by DARK album cover Studio Album, 1986
3.36 | 7 ratings

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Dark
Dark Jazz Rock/Fusion

Review by apps79
Special Collaborator Honorary Collaborator

2 stars 80'S Experimental/Jazz ensemble based in Germany and led by American percussionist Mark Nauseef.Nauseef had a long career in the fields of Free Jazz and World Music having already put up some solo albums and having collaborated with artists like Rabih Abou-Khalil or Joachim Kühn.Dark was his project on CMP Records, working next to engineer (and ex- Parzival member) Walter Quintus.On the 1986 self-titled debut Nauseef was accompanied by multi-instrumentalists Leonice Shinneman and Mark London Sims along with female singer Catherine Guard.

The love of Nauseef for the free forms of music is evident throughout the album and the opening ''Du reptile'' is a great cut, a combination of dissonant soundscapes with a powerful ending guitar-driven rhythm that just leaves you wanting for more.Unfortunately the rest of ''Dark'' is a much more experimental and cosmic listening experience.Nauseef focuses on the long repetitive grooves of his percussion and drums with the assistance of Quintus, who uses a Casio sampling keyboard, producing sonic soundscapes.So the rest goes like a mix of African and Arab grooves through the percussion with female wordless vocals and digital sound effects, while the bass and guitars remain deeply in the background as supporting instruments.As a whole the listening becomes very hypnotic along the way and often has a noisy than musical approach, not uninteresting by any means but definitely not aiming to a wide audience.

I wish this album followed the path of the opening great number until the end.As it is though I can only recommended it to fans of narcotic Experimental Music with an interest on ethnic enviroments.

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 Dark by DARK album cover Studio Album, 1986
3.36 | 7 ratings

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Dark
Dark Jazz Rock/Fusion

Review by Kazuhiro
Prog Reviewer

4 stars This band was formed by Mark Nauseef in 1986. And, it had the career that graduated from California Institute of the Arts both of four first members who had composed this "Dark". Especially, Mark Nauseef with various histories for the activity of music might be a very uncommon musician.

Pursuit of possibility to musical instruments as percussionist. Or, it pursues it concerning Rock and Jazz. And, an original music character might always have been developed avariciously researching the ethno music. Shape to express as one of the results of the search concerning the music character is being splendidly expressed by this band.

It is a well-known fact that Mark Nauseef from the United States was originally active with various Rock Band of Britain after the 70's as Rock Drummer. Or, it flows with the activity in the exchange in the 80's with Joachim Kuhn. A radical activity in Hamburg shows the talent in the item of Jazz.

It is said that Mark Nauseef felt the necessity for being absorbed in the research for the ethno music and the progressive music as the result in the flow and situation. Man who went on to California Institute of the Arts for the period of 1987 from 1985 is a research of the music of the progressive music and Africa. And, the degree concerning the music of the Middle East is acquired. There might be a part to which this "Dark" was formed with the shape of practice concerning the music character that exactly does the research repeatedly in California Institute of the Arts.

When all music can be expressed at first, this band is receiving Leonice Shinneman of the drum player who has received the reputation in the band. And, it is said that the wife of Leonice Shinneman was studying the gamelan music with Mark Nauseef. This Catherine Guard is made to participate as Vocal of the band. Furthermore, the member who added Mark London Sims of the bass player who had been studying African Dance with Mark Nauseef was forming this band.

After it participates in this debut album, Catherine Guard is away from the band. And, guitar player's Miroslav Tadic joins the band in "Tamna Voda" of 2 continuingnd Album. The guitar is not allowed to participate in this album. It succeeds by introducing it an original Music character the synthesizer in construction. extend the Music character

The activity of the band at this time might construct an indeed original music character and achieve a wonderful result. However, the base of the activity of Mark Nauseef in the 80's was in Hamburg as a description by the above-mentioned. It is said also that it was time when time is done similarly and the child was blessed for Mark Nauseef. As for this band, dissolution is done through necessity as a result in the situation in which Mark Nauseef by which the stay in the United States became difficult after it graduates from California Institute of the Arts is put.

The music character that this band practiced it is a racial tradition and an exactly introduction of musical instruments. Or, it is likely to express it well as an attempt to open power that exploits of power to lead to the music of the West in the part of the technique and is opposite. The experiment is effective as the attempt to challenge not the expression of a superficial, new music character but an unknown music character.

As for "Du Reptile", the sense of coming in succession of the rhythm and a metallic sound expresses the part of racial music. As for the tune, the melody with which the tension with the synthesizer will overflow before long crosses each other. The tension and Groove of the band done all together might have exactly decided the directionality of this band.

"Even Darker" is a sound of Tabla performed with the line and Drone of heavy bass. Or, the sound of the synthesizer with the voice and the tension. These advance in union harmoniously. As for the atmosphere of profundity and the constructed music character, the music character at which this band exactly aimed is expressed enough. A chaotic part is expressed and the tune is continued.

"Happy Days Slash Hate Tatum" might have Nouveau Rock part. However, the scat and the rhythm have introduced an Oriental music character. Vocal harmony of the scat in close relation to Groove of the rhythm section that continues and the synthesizer gives a good tension. The construction of the role of bass and the entire melody in the part that chord transposes might be also splendid.

As for "Him And Her", an electronic sound twines round complete Groove with an enchantment scat. Construction of crosswiring rhythm. Or, it is partial of the electronic sound that continues contrasting it. The distorted scat improves the tension further. The technology of the rhythm section is overwhelming.

In "Heavy Matal", a traditional melody of gamelan is a subject. The construction of the melody with the synthesizer is indeed the thickness and increases power. The expression of the music character that they were pursuing has been exactly made the best use of enough by this tune. Construction of complex rhythm. The construction of the music character to exclude the sound of an extra decoration gives the part of profundity. The line of bass in which it introduced it in close relation to Rock Beat and the activity of the percussion instrument are also more splendid.

In "King Krad", the construction of a chaotic rhythm is a subject. There is a little part where the rhythm of Music in Indonesia is recollected. Introduction of rhythm and voice that changes momentarily. And, the high pitched sound of an effective percussion instrument is a charm.

As for "Republic Of Darkness", the feature coming in succession of the continuing electronic sound. Or, rhythmically. twine intermittentlyAnd, it is continuous of the sound in which it effectively introduces it. An experimental element to which the element of the progressive music is taken as an impression might go out strongly. The tension is overwhelmingly expressed. A heavy melody and all the sounds become harmonious and it advances.

In "Brenner", the melody of the music of the tradition of Indonesia is a subject. The melody of Steel Pan maintains the tradition. Rhythm of percussion instrument to contribute to tune completely. It is a tune where the result of the research of the music character that they cultivated is exactly expressed. The synthesizer to introduce effectively is suitable for the tune, too.

"The Spectator" is a tune mainly composed of 5/8 rhythms. The part of the narration has been introduced well while continuing the element of Jazz Rock. A variegated sound and the tension of the synthesizer have exploded overwhelmingly. This band will give the impression that simple music alone is not researched to the power of this tune and the expression method. As for this album, their music characters are satisfactorily demonstrated enough as a collective impression.

The expression and uniting the music character that they had been cultivating left a good result enough though the activity of this band was a short life as the result.

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 Tamna Voda by DARK album cover Studio Album, 1988
4.77 | 7 ratings

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Tamna Voda
Dark Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

5 stars "Tamna Voda", the second album by Dark, is not as dark as "Dark", but is still dark enough to be called "Dark". Mark Nauseef and Leonice Shinneman are still there on percussion, but this time they have Mark London Sims on bass and Miroslav Tadic on guitars. Also along for the ride are guest artists L. Shankar and David Torn. Together they made what I believe is one of the finest fusion albums of the 1980s.

Like the first album, there is a Mahavishnu Orchestra sound, as well as some Univers Zero. The tuned percussion of Shinnemann, and the additional focus on odd rhythms in the melodies also give the album a bit of a Zappa flavor as well. You can even throw in some Henry Cow if you like. In fact, this album would fit in just as easily as RIO as jazz fusion.

Simply put, this is one of my all time favorite albums. It's just too bad that it was released during a decade that real creativity was pretty much ignored, and this band didn't get the attention it deserved.

Listen to it. I dare you.

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 Dark by DARK album cover Studio Album, 1986
3.36 | 7 ratings

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Dark
Dark Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

4 stars My best description of this album is that is falls somewhere between Univers Zero and Shakti, with a heavy emphasis on percussion. And it is very dark.

The songs are an international blend of fusion, with rhythms that sound like they were inspired by musics from Africa, the Middle East and Asia primarily. The keyboars are where the Univers Zero comparison comes in, playing strong, and often complex patterns over the rhythm sections. And all of this is enhanced by Catherine Guard's beautiful, airy vocals floating above the instruments.

My only complaint is that at a little over forty minutes, this album is just too short. Maybe that's a good thing, that I want more.

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