Mark E. Peterson: Press/Reviews

Here's a great review for the new Memphis Blood CD we recorded at Piety Studio, in New Orleans

James Blood Ulmer recently brought his legendary mix of blues and harmolodic jazz to Miami Beach's Colony Theater. He and his band performed the most varied 'Blood' gig I've probably ever seen, ranging from unaccompanied blues songs to funky electric jazz. I've seen Ulmer perform in several venues, including the old Knitting Factory on New York's Houston Street, but South Beach's Colony Theater may have been the ideal venue for his current trio, providing great sound, dynamics and sightlines. Perhaps the only thing missing was a dance floor.
The show, which was one long set without intermission, began with Ulmer playing solo numbers while seated behind a microphone and effects pedals. The songs were mainly from his recent Hurricane Katrina meditation, Bad Blood in the City, The Piety Street Sessions. He also included a haunting take on his classic "Are You Glad to Be in America?" Occasionally, Ulmer had to read his lyrics from a music stand, but his playing and singing were excellent, some of his best blues work.

On the fourth song, "Survivors of the Hurricane," Ulmer brought out his band, first the bass and then the drums. A very intense, ranging and pulsing performance followed filled with tight changes and superb guitar work. The rhythm section of Mark Peterson on bass and Dayle Aubrey on drums was lethal. In fact, one of the most enthusiastic audience responses came after a wicked Peterson solo on his four-stringed Fender. Ulmer could be seen nodding approvingly. Catch this band if you can.

The Band:

James Blood Ulmer - Hollowbody electric guitar, Vox pedal, Roland amp
Mark Peterson - Four-stringed electric bass with stacked aluminum cones rising nearly 6 feet
Dayle Aubrey - Elaborate, double-bass drum kit

Bassist/bandleader/composer Mark Peterson believes that every recording is more than just a collection of music. It is an opportunity to express reverence for a subject of personal meaning. Mark brings forth this message with the release of The Blue Room. Whether he is paying respects to his Missouri roots (as in the closing selection “Missouri River Bottom Hoe-Down”), composers, teachers and artists alike (as in the introspective pieces “Miro” and “Miniature for Acoustic Bass #2”) – the end result is a tribute to the source of inspiration.

Throughout a career that now spans more than two decades, Mark Peterson has always fostered the philosophy that music should be appreciated without regard to classification or category. Constantly exploring and searching for new musical outlets, Mark amazes musicians and fans alike with his empathic ability to blend his musical talent with a wide array of artists such as pianist Johnny Johnson, Joan Baez, James Blood Ulmer, Ornette Coleman, Lyle Lovett, Lizz Wright and Cassandra Wilson.

Bassically.Net

Mark Peterson: The Blue Room - 01/05/01/ Cliff Engel - Writer

Backed by an outstanding cast of supporting musicians, bassist/composer Mark Peterson steps into the spotlight with the release of his own debut solo recording, The Blue Room. Originally from St. Louis, Missouri, the talents of the now New York based Peterson can be heard in a variety of group environments and on projects backing artists such as Grammy award-winning vocalist Cassandra Wilson and the legendary folk sounds of Joan Baez. Here with acoustic upright and fretless electric basses in hand, Peterson takes the listener on a diverse journey of musical textures as he presents us with eight skillfully composed original compositions. With his own pen, Peterson proves that he is definitely more than just a bassist. From start to finish, the pieces appearing on this effort are all wonderfully crafted and feature Peterson in various settings with electric fretless and acoustic upright basses either driving his band with infectious walking grooves or at times taking center stage for his own solo explorations. Stylistically, Peterson covers a wide array of elements on this outing. However, this project could be best described as bluesy contemporary jazz. Peterson pays tribute to his roots as an up and coming musician on the blues scene. Although Peterson primarily plays acoustic upright on this recording, choosing only to use his signature model Fodera fretless electric bass on the title track, he does successfully prove that he masterfully commands flawless technique and can easily switch between both instruments. Upon the opening sounds of "The Blue Room" you'll immediately notice that this composition has a strikingly blues-based feel to it, a feeling that reappears throughout the length of the project. On "Horizon" Peterson shifts gears to acoustic upright with a nicely bowed introduction. Then, Peterson plays a magnificent upright solo over the minor blues changes of "One for Sco", my favorite piece on the entire recording. Next, you'll be introduced to the cool sounds of "Git Widdit”. On "Miro" Peterson highlights his impeccable upright intonation as he outlines sketches of melodic content with piano unison lines and a melodically driven solo. On "Miniature for Acoustic Bass #2" Peterson takes a short break from the group collaborations for a solo bass exhibition full of double stops and harmonic laden content. Very impressive. Then, Peterson offers up the smooth sounds of "In So Many Words" before closing with the driving beats of "Missouri River Ho-Down”. Bottom Line: On his debut solo outing, The Blue Room, Mark Peterson has already not only displayed shades of a well-rounded, versatile bass master and seasoned soloist but also the skills of an eclectic composer as well.

"I first heard Mark playing Electric Bass at the Newport Festival...To hear him play is amazing!"
Victor Wooten

"Mark Peterson, an excellent and versatile acoustic and electric bass guitarist gets to show off his own music while covering a variety of styles with ease...a fine premier CD."
Bassist Harvie Swartz

"With the release of "The Blue Room," Mark has graduated! He comes into his own as an incredibly gifted and skillful composer..."
Guitarist James "Blood" Ulmer

[U]plifting, bluesy, pulsating Jazz. A superb first outing as a leader.
Ron Garant, Bassics Magazine

Jazz at a Glance
Volume 72


Featured Artist: Mark Peterson
CD Title: The Blue Room
Year: 1999
Record Label: Independent -Meppco Productions, NYC
Style: Contemporary Jazz

Musicians: Mark Peterson, acoustic and fretless basses. Anthony Michael Peterson, guitar. Ben Butler, guitar. Sasi Shalom, acoustic piano and synthesizer. Uli Geissendoerfer, acoustic piano. Steve Haas, drums. Bill McClellan, drums. Jorgen Kjar, organ.

Review: Mark Peterson and his group of musicians bring a fresh approach to contemporary jazz, each performer joining in to help create a whole picture of some fine music! Mark Peterson is the leader, his fretless bass and acoustic bass the focus around which these songs flow flawlessly!

Selections include "The Blue Room," "Horizon," "One for Sco," "Git Widdit," "Miro," "Miniatures for Acoustic Bass 2," "In So Many Words," and "Missouri River Bottom Ho-Down." Jazz listeners should get a particularly good jazz feel with what is happening in "Missouri River Bottom Ho-Down," and "Miro," two outstanding works of jazz music and sound. "The Blue Room" selection is a song that will give you several different interpretations each time you listen to it!

A nice, tight, lively, enjoyable CD with some interesting group and single performances by the musicians make this a refreshingly hip approach to contemporary jazz sounds for the listening audience. "The Blue Room" is a listening treat, fun, and enjoyable!
Reviewed by: Lee Prosser
CDs In Review Rating: Five Stars

Bassist, bandleader and composer Mark Peterson believes that every recording is more than just a collection of music. It is an opportunity to express reverence for a subject of personal meaning. Mark brings forth this message with the release of "The Blue Room". Whether he is paying respects to his Missouri roots (as in the closing selection “Missouri River Bottom Hoe-Down”), composers, teachers and artists alike (as in the introspective pieces “Miro” and “Miniature for Acoustic Bass #2”) – the end result is a tribute to the source of inspiration.

Throughout a career that now spans more than two decades, Mark Peterson has always fostered the philosophy that music should be appreciated without regard to category or classification. Peterson has consistently refused to limit his talent to one specific musical genre, as proven by his lengthy history of work with a wide array of artists such as pianist Johnny Johnson, Joan Baez, James Blood Ulmer, Vernon Reid, Lizz Wright, The Syracuse Symphony, Lyle Lovett, Cassandra Wilson, to name but a few.
FIVE STARS