Mark Scott III – Soft Light

Jazz
Mark Scott III – Soft Light

Undoubtedly, there is an audience for this type of album. Although I am not particularly fond of guitar-centric records where the instrument is overly emphasized, this one is quite well-crafted—even if I found myself growing weary of it rather quickly. That said, any aspiring guitarist with an interest in jazz will find here a genuine source of inspiration.

Mark’s professional journey as a musician includes performances at several prestigious Texas venues such as the Parker Jazz Club, Stubb’s Amphitheater, The Continental Club, Monks Jazz, and the Elephant Room, among others. He has also contributed to numerous recording sessions in renowned studios like The Panhandle House, Reeltime Audio, 5th Street Studios, and Cedar Creek Recordings. His career has seen him share the stage with celebrated jazz artists such as Branford Marsalis, Helen Sung, Rodney Whitaker, Mike Sailors, Bruce Saunders, and John Fedchock.

In truth, I feel this type of guitarist excels in arrangements and supporting other artists. Indeed, if you listen closely, his arrangements often sound as though they are preparing for the entrance of another instrument or a voice. It’s precisely here that the sense of absence sets in, as what ultimately remains are inspired and impeccably played guitar notes—and yet, nothing else follows.

What I truly appreciated in this album was the rhythm section: Ben Triesh on double bass and drummer Mike Gordon continuously offer something particularly engaging. As for the rest, the tracks feel as though they’ve been known forever, lacking a distinctive personal touch. This guitarist is undoubtedly a brilliant technician, but the compositions on this album fail to transcend familiarity.

An album release concert is scheduled for February 9, 2025, at the celebrated Monk’s in Austin. If interested, be sure to reserve your tickets promptly, as the venue is quite small with limited seating. See details here.

I nevertheless listened to the album to its conclusion, left with the strange impression of hearing the same track from start to finish, with the recurring thought: “Yes, it’s well played, but…” Perhaps this is because the album resembles many others released since the 1960s and brings nothing new to the table. I would give this album three stars, hoping that such a talented musician might one day deliver a more inspired work.

Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News

PARIS-MOVE, January 27th 2025

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