Mark Costa - Textures

Mark Costa - bass

James Muller  - guitar

Bill Risby - keyboards

Gordon Rytmeister - drums

Tony Azzopardi - percussion 

"A bassist for all seasons, Sydney's Mark Costa was a resident on Australian Idol for seven years. Having escaped the clutches of innumerable shrieking larynxes, he has penned all the tunes on this very attractive album of fusion music, with guitarist James Muller, keyboards ace Bill Risby, drummer Gordon Rytmeister and percussionist Tony Azzopardi. Driving funk and rock feels give way to more lyrical pieces, so the album lives up to its title and handsomely escapes the flaw of some fusion: heard one track, heard 'em all. There is a special magic about the fiery imagination behind all the Muller solos. Hear them do it live at the Basement on Wednesday (March 2, 2011). 3 and a half out of 5 stars. "
- John Shand, Sydney Morning Herald (Feb 25, 2011)
 

Bass player and musical arranger Mark Costa compares the music on his 2010 album Textures to artists such as Tribal Tech and Pat Metheny.  Considering the talent of these jazz/fusion artists, not to mention Metheny’s legendary status, a comparison of this nature is a bold statement to make.  It would be an even bolder statement to back that up on the album, which is exactly what Costa and his team of talented musicians do.

Hailing from Australia, Costa’s credits include playing with Leo Sayer, Go West, Tom Jones and Chris Isaak.  In addition, Costa has served as the bassist and arranger for the reality show, Australian Idol.  Joining Costa on his debut album are guitarist James Muller, keyboardist Bill Risby, drummer Gordon Rytmeister and percussionist Tony Azzopardi.  Together, this jazz quintet performs a stellar set of eight pieces written by Costa and covering a range of beautifully textured sounds.

The opening track, “Dedication”, begins with a gentle piano/keyboard opening that flows into the song’s main melody, carried by Muller’s guitar.  Muller’s tonality and style is similar to Metheny’s but when he starts to solo, the speed and intensity with which he plays is more reminiscent of Brand X guitarist, John Goodsall.  After the main refrain is established, Risby takes control of the song. The light percussion from Rytmeister and Azzopardi keep the emphasis on Risby as he plays with some various keyboard sounds in an atmospheric and energetic fashion.  Around the four and a quarter minute mark, Muller takes the reigns and begins to solo, forming the song’s impressive coda. All the while he’s playing, Rytmeister’s drum fills keep the energy of the rhythm section right on cue, not losing a step to the controlled frenetic fretwork.

This formula is repeated again on the second song, the album’s title track.  The song has distinct sections with it either being Risby or Muller’s playground for a while before they alternate.  The beautiful part about this arrangement however is that no one outshines another.  For all of Muller’s fast paced picking, Risby is able to compliment it beautifully with his soothing and graceful working of the keys.  While he’s playing, Muller’s guitar licks can still be heard in the backing arrangement.  The same can be said for Risby, too, while Muller is moving the song along.

And where is Costa in all this?  The glue holding the song together is Costa’s exemplary bass work.  The most wonderful thing about great jazz work is that as stellar as the combined sound is, there’s so much more to hear when listening to the individual parts.  Costa’s bass playing is largely seamless, isn’t too pronounced, but when you listen for it on a track like “Hidden Gem”, you can hear how much of the song rests on his fingering of the strings.

Costa’s stand-out performance, and indeed, the best song on the album, is “Stand and Deliver”.  This six-minute track is jazz/fusion at its finest.  Rytmeister’s drums are crisp and powerful, Muller tears up and down the fret board, and Costa unleashes a magnificent slap bass solo that sounds as funky and groove heavy as anything Mark King ever laid down on a Level 42 song.  The only disappointment in this song is that there’s not more like it on the album.  Though every track here has a great degree of energy, the band wonderfully steps up their sound here and shines in a uniquely exciting way.

To a slightly lesser extent, that kind of excitement reappears on “White Sands”.  The top and middle led by Risby’s keyboards and the sound and arrangement seems like it could’ve been taken from an expanded form of the Vince Guaraldi trio.  Risby’s playing to the light percussion and cymbal work is evocative and serene.  Even underneath Muller’s soloing, the piano chords set the mood for the song overall, with the guitar being the figurative icing to the cake.

Textures closes on a note similar to how it began.  The album’s closer, “A Father’s Love,” is a tender, slow piece.  Once again, there’s something to listen to in each performance.  One of the more notable contributions is Rytmeister’s drums that manage to be as gentle as they are quick.  Azzopardi’s added percussion, like the chimes that heighten the song’s emotion, is another significant factor in how well the song works as a closer.

Mark Costa has written a masterful piece of jazz-fusion work, and has also selected a perfect team of musicians to perform it.  With no one performer out-shining any of the others, a synergy is produced that is ultimately the strongest asset of Textures.  It would behoove any self-respecting jazz fan to have Mark Costa sitting on their CD rack next to Pat Metheny; just as Metheny himself would be in great company performing with or alongside Costa and his extremely talented crew.

Review by Heath Andrews
Rating: 5 Stars (out of 5)
 
 

Over the last twenty five years, Mark has become one of the most respected and in-demand bassists in Australia with an impressive list of live and recording credits. These include The Temptations, Tom Jones, Go West, Chris Isaak, Marcia Hines, Margaret Urlich, Kulcha and legendary Basement favourite Supermarket among many others.