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Hollingsworth, Mark - On The Mark CD Cover Art
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Mark Hollingsworth On The Mark CD

 Mark Hollingsworth Discography of CDs

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Industry Buzz about "On the Mark": "This is a wonderful CD!" - WBCX, Gainesville, GA "Great album!" - WBCP, Champaign, IL"Great Song!"(Steppin' Up) - KJZS, Reno, NV"I love records like this..."~Jeff Charney (ContemporaryJazz.com)".... The CD is full of nice surprises ...'On The Mark' is a well crafted collection that deserves to hold its own in the ultra competitive market of smooth jazz saxophone."~Denis Poole (smoothvibes.com)".... The sound is so very genuine lyrically; the vision of these guys jamming together becomes extremely real intuitively. Without a doubt, the intensity and spirit of Mark Hollingsworth is automatically transferred over to anyone within earshot of this CD."~Sheldon T. Nunn (JazzReview.com)"This brand new debut solo release is ON THE MARK, literally and figuratively, with all of the ingredients you're looking for in a hit Smooth Jazz album. Great melodies, solid grooves, polished, top-drawer musicianship and production, plus that extra hard-to-define aura, that sense of passion and confidence that tells you that Mark really knows what he's doing here, and understands how to touch the Smooth Jazz listener on a visceral level. He's got it! This is as surefire a Smooth Jazz hit as you're ever going to find."~Scott O'Brien (SmoothJazz.com)____After years of working as a Los Angeles studio musician and being influenced by working with musical legends ranging from Stevie Wonder to Santana, Ray Charles to Quincy Jones, Mark Hollingsworth has teamed up with veteran writer producer James Wirrick, for Mark's debut solo album. "With nine sparkling originals that include keyboardist Dan Siegel as a special guest on one, and an awesome Tower of Power-'esque cover of L.T.D.'s "Back in Love Again", ON THE MARK is what today's dynamic sounding Smooth Jazz is and should be all about." No rookie to the Smooth Jazz scene, Mark has recorded with Dan Siegel, performed at festivals around the country with other artists including Grant Geisman and was featured with the Greg Adams band for almost 3 years. While touring, Mark was initially struck by the crowds who attended many of the Smooth Jazz concerts. "I was really inspired when I started playing many of the festivals. I couldn't believe how responsive these crowds were to our music. People would often come up to me after a show and tell me how much they were affected." Many people asked Mark if he had his own solo album, so soon it became his top priority. "On the Mark" is rich in musical energy and scope, allowing the listener to discover something new each time they play a song from it. Mark's playing has an intensity and depth that listeners can immediately identify and relate to. He knows how to engage and connect with the audience creating a dynamic, soulful energy that pulls the listener in.
On The Mark Music


Detailed On The Mark Music Information



Category Jazz Albums
Label Windshore Music
Orig Year 2005
All Time Sales Rank   482643  
CD Universe Part number 7178086
Catalog number 49683
Discs 1
Release Date Jun 21, 2005
Studio/Live Studio
Mono/Stereo Stereo
Recording Time 47 minutes
Mark Hollingsworth On The Mark Songs


Mark Hollingsworth On The Mark Album Track Listing



1.Steppin' Up
2.Sunset Rose
3.Catch This
4.Only an Illusion
5.Back in Love Again
6.On the Mark
7.One More Thing
8.Bahia Moonlight
9.Hot Nights
10.Prairie Rains
On The Mark Review


On The Mark Music Reviews



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Polish composer and trumpeter Tomasz Stanko's career has been long and varied -- from working with the legendary Krzysztof Komeda in the 1950s and '60s, to his own work that ranges form hard bop to electronic improvisation. A wonderful illustration of that principle is his association with Manfred Eicher's ECM label. This volume, in the excellent Rarum series, begins with Stanko's first date as a leader for ECM in 1975 on the album Balladyna. There are two selections from the set highlighting what was well-known at the time as his radical "predatory lyricism" method of composition and soloing. These stand in subtle contrast with his solo on "Together," from Edward Vesala's Stau from a year later, where his soloing style was already in transition, and he moved even further afield when he played on Gary Peacock's beautiful album Voice From the Past, from which the selection "Moor" is taken. Stanko's harmonic interplay with saxophonist Jan Garbarek is nothing short of breathtaking. Stanko didn't record ...
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Simply put, Zeno Beach is better, far better, than anyone had any right to expect. The twin blasting guitars of Tek and Masuak with Younger's vocals (he has always been the quintessential rock & roll frontman), along with a smoking rhythm section attack, bring the make or break down to the songs. While there isn't anything here on the level of "Do the Pop," "Aloha Steve and Danno," or "455 SD," there isn't a weak second here. And this record is wilder and rawer than anything they've released in the past. This band isn't rusty, either. Produced by Tek with Greg Wales, Zeno Beach screams out of the gate with "We've Come So Far (To Be Here)," with that quintessential guitar rock, the speeded up four/four time attack, and Younger standing up tall and letting the words pour out of him. There are all those small trademarks, the tight, three- and four-note guitar fills, the two-chord riff in between lines, the piano playing in the break instead of a predictable guitar solo, and that crisp bass and drum attack. "You Just Make It Worse," begins as a strutter, with both guitars playing power chords riffs and Hoyle's organ bringing up the rear. Younger knows how to phrase, when to stress, and when to slur. "Connected" has the killer hook of a "Do the Pop"; it's got the stops and starts and the popping snare drums and boom-smasher cymbals. And when the guitar solo happens, it's that roiling three-note machine gunfire that brings the next verse home. There is one of those spooky numbers here, à la "The Man in the Golden Helmet," it's called "The Brotherhood of the Al Wazah," but it's angular and freaky and moves along like some dark and silvery liquid revealing itself in total only after it ends. What's so welcome on Zeno Beach is the way the whole band gets in on the songwriting act. Tek wrote the lion's share of the cuts by himself, but Younger and Masuak are in there too, and Hoyle wrote the title cut (the album's closer). It's the most accessible thing here and one of the album's great beer-blanched surf rockers. Zeno Beach is such a frighteningly fine return to form, it's hard to believe that the Birdman were ever gone, let alone for such a long time. In fact, it's so good ...
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