The release of Mark’s third album is a solid testimony to the notion that artists are not so much charting their course as they are following it. With the acoustic explorations of Veritas and the electric probings of In Spirit behind him, Suite For a Fish Out of Water becomes the defining moment in the early period of Mark’s work.
In the late 1970’s when Mark was entering the jazz and fusion scene as a professional multi-keyboardist and pianist it was considered to be a rite of passage for musicians to record their music and their improvisations “live” in the studio from start to finish. Musicians practiced, performed and prepared their material in rehearsal and live settings before entering the studio. Then the music was played from start to finish with the tape rolling.
In many cases the technology for the editing of solos, which has plagued and arguably ruined jazz and fusion since the mid-80’s was not available.
When Mark entered the studio as a leader in the early 90’s he committed to this now archaic way of recording using multiple tracks for extra colors and overdubs but, like In Spirit, Veritas and every recording in Mark’s career to date, all improvisations are live with no editing and all songs are performed in one or two takes from start to finish.
Suite for a Fish Out Water, like In Spirit features all first takes. Those who discovered this album upon its re-release in 2012 found a timeless simpatico with those who originally discovered it in 1997.
From 1984 to 1997, Mark was composing and performing in the jazz fusion genre, documenting the best of his efforts on "In Spirit" and "Suite for a Fish Out of Water." Mark never returned to the electric band format making this recording and that of "In Spirit" gems among his many works.
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