Baltimore-based guitarist Mark Mosley, a dynamic player with heavy jazz and blues influences, returns with his Trio to the historic Bohemian Caverns.

Greg Hatza - organ
Will Greenwade - drums
Mark Mosley – guitar

Mark Mosley endorses D'angelico Guitars and JazzKat amps.

For more information on Mark Mosely's performance schedule see:

http://www.myspace.com/jazzcruise2009

http://www.myspace.com/markmosleyband

Mark Mosley is a Baltimore-based jazz and blues guitarist who was inspired to pursue music as a career after performing at the Montreux Jazz Festival while in high school. Born in Arkansas, Mark lived worldwide due to his parents' and his own previous active U.S Army affiliation. He began playing guitar when he was 11, first learning to emulate the playing of BB King. Later he played in school bands and was part of R&B and Jazz bands.

Since his days with the Army, Mark has toured Spain with Lou Donaldson and worked with Gary Bartz and Keter Betts, among others. He has been a band leader for several years to include while living as a civilian in the Heidleburg Germany region. Major venues performed in as a band leader in the DC and Baltimore area include Blues Alley, Montpelier Arts Center, Twins Jazz, Md.Public TV, WJZ -TV channel 13 (Baltimore), WPFW.89.3 fm radio interviews/airplay, and various Borders Books and Music outlets.

Mosley’s debut CD simply titled Mark Mosley introduces the first time listener to his bluesy-jazz improvisations and song writing skills. Five out of the six tunes on the CD are written by Mosley. Self-produced, the CD boasts a mixture of straight ahead and blues infused tunes, as well as strong musical support from pianist Charles Etzel, bassist James King and drummer Nasar Abadey.

A CD review and interview can be found on Jazzguitarlife.com at:

http://www.jazzguitarlife.com/Jazz-Guitar-Life-Interviews-Mark-Mosley.htm

An educator as well as a musician, Mark teaches in Baltimore City's public school system. In addition, Mosley is a contributing writer for modernguitars.com and has joined the roster of booking agency, Ovationentertainment.com. Mark will soon join the artist roster of D'angelico guitars after recently receiving a guitar from them in October 2007. He has also been given an endorsement deal from Acoustic Image amps.

Photo by Michelle Mosley.

For more info on Mark, visit his myspace site at: http://www.myspace.com/markmosleyband

Mark's current CD can be purchased at:  http://cdbaby.com/cd/markmosley.

For a review of his CD, published in the November 2007 issue of Jazz Improv magazine, read on:

Mark Mosley

MARK’S MOOD - Moe Music Group. Mark’s Mood; Smokin’ A Half Note; Legacy; Michelle; The Girl From Ipanema; Horizon.

PERSONNEL: Mark Mosley, guitar; Charles Etzel, piano; James King, bass; Nasar Abadey, drums; Moe Daniels, keyboards.

By Scott Yanow

Mark Mosley is an excellent guitarist with a clear tone, a harmonically advanced style and a swinging approach. Born in Arkansas, along the way he has worked with Lou Donaldson, Gary Bartz, Keter Betts and Dr. Lonnie Smith in addition to his own groups. Mosley’s tone and style at various times is reminiscent of Pat Martino, Russell Malone, Kenny Burrell and others in the modern straight ahead idiom. He builds up his solos logically, takes some chances, and yet always sounds relaxed and confident, even at faster tempos.

Mark’s Mood is essentially a self-produced demo and it is just a half-hour long. However this sampler is very well recorded and it does show what Mark Mosley can do without being self-conscious or overly eclectic. Joined by a fine rhythm section at a recording studio in Baltimore, Mosley performs Antonio Carlos Jobim’s “The Girl From Ipanema,” fellow guitarist Sid Jacobs’ “Smokin’ A Half Note” and three of his originals including a tribute to his wife, “Michelle” (which has no relation to the Beatles song).

The opening “Mark’s Mood” has tricky chord changes, excellent guitar, piano and bass solos and a constant forward momentum. The medium-tempo blues “Smokin’ A Half Note” displays Mark Mosley’s comfort in a bebop setting. “Legacy” is a minor-toned blues with a melody line a little like “Topsy.” “Michelle” begins as a tender ballad before becoming a strutting blues with a “Killer Joe” rhythm stated by pianist Charles Etzel. Mosley’s bluish and often chordal solo is one of his best of the set. The return to the original ballad is pretty sudden but ultimately works. Mosley sounds authentic on the classic bossa-nova, “The Girl From Ipanema,” being quite comfortable with the Brazilian rhythms. Closing the brief program is a change of pace in “Horizon.” With Moe Daniels added on keyboards, this is a more commercial track. At least the basic sound of the ensembles and the rhythms are commercial but Mosley plays as creatively as ever over the chord changes, not compromising his style despite the different setting.

All in all, this is an impressive first effort. Other than the brevity of the set, I have no reservations about recommending it to fans of modern mainstream jazz guitar.

Bohemian Caverns began its rich history of showcasing Jazz on U Street in 1926. The original venue, known as Club Caverns, consisted of the basement level only, operated from 1926 until 1942. In 1943 Cab Calloway purchased the venue and operated under the name of The Crystal Caverns until 1958. In 1959 Tony Taylor and Angelo Alvino renamed the venue Bohemian Caverns and operated it until 1968.

The Caverns derived its name from the unique cave-like décor, faux stalactites and stalagmites that adorned the walls and ceilings of the club. Designed after a Hollywood set, The Caverns catered to the elite of its day and attracted an endless array of top Jazz performers such as Shirley Horn, Duke Ellington, Pearl Bailey, Miles Davis, Aretha Franklin, Ramsey Lewis, Less McCann, The Supremes, Roberta Flak, John Coltrane and Eric Dolphy, JFK Quintet, Ella Fitzgerald, Billy Taylor, Dizzy Gillespie and Billy Holiday. The club's unique décor coupled with its dynamic artist line-up made it THE fashionable place to see and be seen.

During the roaring 20's and throughout the late 60's The Caverns and the U Street corridor served as the epicenter of Black nightlife in Washington, DC. The Caverns served for many decades as a central business along the bustling U Street Corridor that included several large theaters, restaurants, after-hours clubs and private jazz societies. It was one of the few places in Washington, DC where blacks and whites came together as equals to equally share their love of jazz. During de-segregation, many U Street businesses began to decline as expanded social, shopping, residential and entertainment opportunities became available for Blacks beyond the U Street corridor. After the riots of 1968, Bohemian Caverns experienced several decades of decaying vacancy until it was purchased by Al Afshar in 1997. During the three year renovation particular attention to detail was used to ensure the original design was maintained.

On Jul 6, 2000, Bohemian Caverns opened its doors to the public with a Grand Gala Reception. The event celebrated both the rich history of The Caverns and marked the first of numerous new business and residential construction projects along the U Street corridor. The current structure is an expanded, state-of-the-art facility consisting of the elegantly adorned Bohemian Caverns Restaurant (main level), The Caverns Jazz Lounge (basement level) and Club 2001 Nightclub (2nd and 3rd levels). Weekly events include live jazz performances, happy hour events, dance parties and other social events. In addition, the facility caters various special events such as weddings, fund-raisers, birthday parties and other celebrations ranging in size from parties of two to as many as 1,000 guests.