I was first introduced to the music of Mark Wingfield through listening to his first duo album with the inventive genius of Massachusetts acoustic mastermind, Kevin Kastning. Although in my gut I suspected it, it was almost impossible, still, to believe when it was confirmed that both players had indeed improvised the entire album. While retaining that just-baked freshness, there was still a grace, presence, flow and assurity presenting itself that one might expect from the delivery of music the two had performed together on numerous prior occasions; completely invented in the moment, in the studio, yet sounding like a composedand brilliantly composed, at thatpiece of music.
There was something in the combination of his tones, phrasing and nuance that harkened me back to the playing of modern guitar renaissance impressionist, the great David Torn
. But beyond his sonic excellence and technical brilliance, there was a genuine, raw, emotional side to Mark's playing. Perhaps it was this willingness to explore the dynamics of a musical moment and bare one's soul in the midst of it that, ultimately, brought this comparison to mind.
I was overcome with emotion during the course of my very first listen. For my ears, there was something immediately profoundand supremeabout the guitar textures that flowed out of this guy.
In light of this first introduction (to his music), perhaps you can imagine how thrilled I was when MoonJune's Leonardo Pavkovic shared with me, in the fall of last year (2014), that MJR would produce his new solo album!
Even more so, whenwhile in NYC, during a trip up from Florida to meet the great Indonesian progressive legends, simakDialogLeonardo snuck in a still-unmastered cut from Mark Wingfield's MoonJune debut, Proof of Light
, during a listening session in his office.
Upon hearing just the first few notes, I knew Leonardo had a true unprecendented masterpiece on his hands: one so brilliantly creative and soaringly articulated that it immediately commanded not just your full attention, mentally, but it also grabbed you on an emotional level. There was something very special happening here, and it extended way beyond the ordinary!!
Leonardo hit me with another (track from the album), then another ...
After having consumed two glasses of a mystery-vintage vino, the combination of elations generated from multiple sources proved almost overwhelming. I felt as if my head was about to explode from this mind-altering music!!
...was this really a guitar I was listening to?? How can it be possible for someone to wring that much emotion and radical nuance from the instrument, really?
I was listening to the impossible.
...being articulated in the most sensitive trio setting ever.
Perhaps now you understand why it is, indeed, such a great honor to have been involved in the interview you are about to read.
Although in my gut I suspected this, also, I will go ahead and say itafter reading and rereading Mark's responses to the questions which follow: Mark Wingfield is the most inventive electric guitarist of the last 30 years.
Or maybe ever.
I truly believe he falls into the same category as two of the greatest, most innovative players of my lifetime: Jimi Hendrix, and Allan Holdsworth. As this interview evidences, Mark Wingfield's approach to creating electric guitar tones and textures is no less revolutionary than either of said predecessors. In fact, the manner in which he embraces and integrates technologyin terms of both tones and playing techniquequalifies him for consideration as the most innovative electric guitarist of all time, I believe.
But enough of my controversial meanderings; let's hear from the master, himself. All About Jazz
: Hi, Mark! Thanks for taking to time to provide our readers with some insights into yourself, your incredible music and your phenomenal, just-released debut album for MoonJune Records.
To prepare myself for this interview, I went back and digested some previous interviews that have been conducted with you. I read were you previously stated (in your interview for Anil Prasad's Innerviews
) that there is no such thing as an original musical ideaciting "originality," in the musical sense, as being the result of a combination of influences. Given this perspective, can you identify any of the specific influences present on your MoonJune debut, Proof of Light
? Mark Wingfield
: Thank you, John and All About Jazz
for the kind words, your time and for providing this forum. It's a pleasure to talk with you.
There are definitely original musical ideas. I was talking about the fact that any original idea played by a musician or written by a composer is made up from combinations of things they have heard at some point in the past. It's often said that every combination of notes has been played before at some point. That is undoubtedly true, but when you add rhythm into the equation the combinations become near limitless. Add in dynamics, tone, inflection and other expressive elements and there really is no limit to the variety of ways any combination of notes could sound.
Take the first four notes of the opening theme of Beethoven's 5th Symphony, most westerners at least know that theme. However these same four notes if played during an improvisation, could take on a completely different musical meaning. This is because, even if somewhere deep in they player's subconscious the notes originally came from hearing the 5th Symphony, years later, in the context of an improvisation, they no longer belong to that, they have become part of their musical language. If a musical idea you're heard has really become part of your personal musical language, on a deep enough level, it will sound like you. If it hasn't, it will sound like a borrowed musical quote. Beethoven himself must have got this combination of notes from something he heard, but he turned them into something new and something powerful enough to still be in many people's mind almost 200 years later.
The important point is that it's the combination of musical influences that creates an original idea. Wayne Shorter described it as "scrambling" your influences. All these different influences come in, they get scrambled up and they come out as your own sound. I think one of the key things that makes someone sound original, is that they have diverse or unusual influences. Influences don't even have to be musical. You could be influenced by the sounds of machinery in a construction site, or by bird song, or the rhythms of human speech. John Coltrane
for example based his composition Alabama on the cadences of Martin Luther King's famous speech. Jazz players don't need to have jazz as their only big influence. Coltrane also was very influenced by African and Indian music. Or take Miles Davis
who was influenced by classical composers like Ravel and Stockhausen.
With regard to Proof of Light
(Mark's debut album for MJR), it's very hard to point out any influence in particular. What I will say is that I listen to a huge variety of different music. I am influenced as much by Indian and African music as I am by western music and as much by classical music as I am by jazz or rock. I do love the music that happened in the 70's and 80's on the ECM label which you mention. I think that was a time when whole new vistas of musical sound were opened up.
Miles Davis' Bitches Brew
was one of the most original sounding albums in the history of Jazz and still one of my personal favourites. But equally original albums came out in the decade after that; Ralph Towner
is an example. That album sounded like something out of a completely new musical worldmoving from haunting ghostly shades to intense uplifting energy within the same album. Kenny Wheeler
, Keith Jarrett
, and Jan Garbarek
were others who created completely unique musical landscapes. These are all influences.