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Critic's Review
Dave Nathan, All Music Guide
New York City's Mark Capon appropriately dedicates his first album to his teacher, Tal Farlow. Capon was able to study with Farlow thanks to a jazz study grant from the National Endowment of the Arts. And learn well he did from the master guitarist. Farlow was known, and sometimes criticized, for his very fast (but clean sounding) playing. Farlow claimed he had to play that fast to keep up with Red Norvo's vibes, with whom he played early in his career. Capon also plays fast demonstrating his alacrity with the string instrument on several cuts, like "Have You Met Miss Jones." But Farlow had a lyrical side too, and Capon is correct in featuring that aspect of Farlow's playing. Tunes like "I'm Glad There Is You" and "Spring Can Really Hang You up the Most" are performed in a romantic fashion.
Capon's program is all well known standards, into which he breathes some freshness as he plays them cleanly and straightforwardly. You'll hear no smears from Capon's guitar. But this means there's a certain sameness with the proceedings, with little variety and certainly presenting no challenge to a musician of Capon's abilities. He also ignores one important element of his teacher's playing and that was his ability to grasp the essential rhythmic variety of bop and transfer it to his guitar.
Capon has brought some capable musicians into the studio with him. Rick Eckberg on bass and Dick Johnson on drums provide admirable and, given the nature of the program, feathery support throughout the session. Ray Alexander's piano comes in on three tracks adding a tasteful fillip to the musical casserole. The Jazz Guitar of Mark Capon isn't all that jazzy, but is a pleasant listen.
Capon's program is all well known standards, into which he breathes some freshness as he plays them cleanly and straightforwardly. You'll hear no smears from Capon's guitar. But this means there's a certain sameness with the proceedings, with little variety and certainly presenting no challenge to a musician of Capon's abilities. He also ignores one important element of his teacher's playing and that was his ability to grasp the essential rhythmic variety of bop and transfer it to his guitar.
Capon has brought some capable musicians into the studio with him. Rick Eckberg on bass and Dick Johnson on drums provide admirable and, given the nature of the program, feathery support throughout the session. Ray Alexander's piano comes in on three tracks adding a tasteful fillip to the musical casserole. The Jazz Guitar of Mark Capon isn't all that jazzy, but is a pleasant listen.
