Reviews that mention Scott Fields

May 19, 2014

Matthias Schubert

9 Compositions for The Multiple Joy [ce] Ensemble
Red Toucan # RT 9348

Matthias Schubert/Simon Nabatov

Descriptions

Leo Records CD LR 686

Lurk Lab

Lurk Lab

Gligg Records 018

For the past couple of decades, Kassel-born tenor saxophonist Matthias Schubert has come into his own as a valued sideman in various configurations as well as an infrequent leader of his own dates. Touching on different aspects of the saxophonist’s art, which encompasses Free Improv, electro-acoustics, straight-ahead Jazz and New music, the CDS here demonstrate how and why the versatile Schubert is almost always busy. MORE

January 30, 2012

Scott Fields/Multiple Joyce Orchestra

Moersbow OZZO
Clean Feed CF 236 CD

Having upped the number of musicians involved as well as the scope of his creative strategies, the newest orchestral work by American guitarist Scott Fields involves 23 players – plus him conducting – interpreting one, nearly-14-minute, and another four-part, hour-long composition. The result, recorded live in the guitarist’s adopted hometown of Köln, is satisfyingly striking, with the proviso that subsequent performances likely sounded different, considering that that the unique physical gestures used by Fields and the musicians to communicate are drawn from the American Manual Alphabet. MORE

August 19, 2009

Scott Fields Ensemble

This American Life
NEOS Music 40806

Complete with the requisite word “American” in its title, Chicago-born Köln-based guitarist Scott Fields offers his vision of Americana on this CD, with themes ostensibly composed to be used by This American Life, a long-running radio program on Chicago’s WBEZ.

Before fearing that Fields has become a Bill Frisell doppelganger, wedded to country and folk-flavored tropes, his sardonic track explanations suggest otherwise. His comments about the show’s “carpetbagger” host scavenging music to be “sliced, diced, mixed, and fried” may prevent these themes from reaching their intended market. More to the point, each of the five tracks operates on multiple levels, with atonal and contrapuntal asides and extensions sneaking out from within the rolling, lyrical narratives. MORE

November 25, 2008

Bik Bent Braam

Extremen
BBB CD 10

James Choice Orchestra

Live at Musik Triennale Köln

Leo CD LR 513

Although saxophonist/clarinettist Frank Gratkowski and tubaist Carl Ludwig Hübsch are each an integral part of both these innovative, large ensemble sessions, the CDs couldn’t be more divergent.

Extremen features the two-Köln-based players as part of Dutch pianist Michel Braam’s 13-piece Bik Bent Braam ensemble in concert playing 12 of the pianist’s compositions. Although the tunes are also orchestrated, using a combination of written and verbal cues plus hand signals and gestures, band members improvise both musically and physically. They can alter, re-direct and refocus the order and duration of the pieces, work out different harmonies and solo choices, plus unexpectedly introduce improvised material. MORE

November 25, 2008

James Choice Orchestra

Live at Musik Triennale Köln
Leo CD LR 513

Bik Bent Braam

Extremen

BBB CD 10

Although saxophonist/clarinettist Frank Gratkowski and tubaist Carl Ludwig Hübsch are each an integral part of both these innovative, large ensemble sessions, the CDs couldn’t be more divergent.

Extremen features the two-Köln-based players as part of Dutch pianist Michel Braam’s 13-piece Bik Bent Braam ensemble in concert playing 12 of the pianist’s compositions. Although the tunes are also orchestrated, using a combination of written and verbal cues plus hand signals and gestures, band members improvise both musically and physically. They can alter, re-direct and refocus the order and duration of the pieces, work out different harmonies and solo choices, plus unexpectedly introduce improvised material. MORE

June 6, 2008

Open Loose

Strange Unison
Radio Legs RL 013

Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley

A Life Saved By a Spider and Two Doves

Another Timbre at06

Kidd Jordan/Kali Z. Fasteau

LIVE at the Kerava Jazz Festival: Finland

Flying Note FNCD 9012

Scott Fields

Bitter Love Songs

Clean Feed CF 102 CD

Jason Stein

A Calculus of Loss

Clean Feed CF 104 CD

By Ken Waxman

Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE

June 6, 2008

Kidd Jordan/Kali Z. Fasteau

LIVE at the Kerava Jazz Festival: Finland
Flying Note FNCD 9012

Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley

A Life Saved By a Spider and Two Doves

Another Timbre at06

Scott Fields

Bitter Love Songs

Clean Feed CF 102 CD

Open Loose

Strange Unison

Radio Legs RL 013

Jason Stein

A Calculus of Loss

Clean Feed CF 104 CD

By Ken Waxman

Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE

June 6, 2008

Scott Fields

Bitter Love Songs
Clean Feed CF 102 CD

Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley

A Life Saved By a Spider and Two Doves

Another Timbre at06

Kidd Jordan/Kali Z. Fasteau

LIVE at the Kerava Jazz Festival: Finland

Flying Note FNCD 9012

Open Loose

Strange Unison

Radio Legs RL 013

Jason Stein

A Calculus of Loss

Clean Feed CF 104 CD

By Ken Waxman

Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE

June 6, 2008

Jason Stein

A Calculus of Loss
Clean Feed CF 104 CD

Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley

A Life Saved By a Spider and Two Doves

Another Timbre at06

Kidd Jordan/Kali Z. Fasteau

LIVE at the Kerava Jazz Festival: Finland

Flying Note FNCD 9012

Scott Fields

Bitter Love Songs

Clean Feed CF 102 CD

Open Loose

Strange Unison

Radio Legs RL 013

By Ken Waxman

Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE

June 6, 2008

Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley

A Life Saved By a Spider and Two Doves
Another Timbre at06

Kidd Jordan/Kali Z. Fasteau

LIVE at the Kerava Jazz Festival: Finland

Flying Note FNCD 9012

Scott Fields

Bitter Love Songs

Clean Feed CF 102 CD

Open Loose

Strange Unison

Radio Legs RL 013

Jason Stein

A Calculus of Loss

Clean Feed CF 104 CD

By Ken Waxman

Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE

January 15, 2008

Ken Waxman’s Top CDs for 2007

[In alphabetical order]
For CODA Issue 337

1. Muhal Richard Abrams, Vision Towards Essence Pi Recordings Pi23

2. Johannes Bauer/Thomas Lehn/Jon Rose, Futch Jazzwerkstatt JW 010

3. Bruce Eisenbeil Sextet, Inner Constellation Volume One. Nemu 007

4. Exploding Customer, At Your Service Ayler aylCD-063

5. Scott Fields Ensemble, Beckett Clean Feed CFO69 CD

6. Frank Gratkowski/Misha Mengelberg, Vis-à-vis Leo CD LR 476

7. François Houle, Evan Parker, Benoît Delbecq La Lumière de Pierres psi 07.02

8. Lucas Niggli Big Zoom, Celebrate Diversity Intakt CD 118 MORE

January 6, 2008

Scott Fields Ensemble

We Were The Phliks
RogueArt ROG-007

Utilizing the textures available from one instrument which assumed its modern form sometime between the 10th and the 15th century and another 20th century invention considered antique because it’s merely analogue, guitarist Scott Fields has created an almost 70½-minute CD that’s as audacious as it is rewarding.

Naturally being improvised music, We Were The Phliks also depends on the interpretive skills of the four players as much as the graphical or conventional notation Fields uses for these four long pieces. A mixture of experiences and cultures, the players are Fields, the Chicago-born guitarist who has lived in Köln, Germany for the past few years; two German-born Köln residents: tenor saxophonist Matthias Schubert and analogue synthesizer player Thomas Lehn; plus Xu Fengxia, a native of Shanghai, who now lives in Hövelhof and plays the guzheng, a large Chinese zither whose most familiar shape was established by the 15th century. MORE

June 20, 2005

Heinz Geisser/Guerino Mazzola Quartet

Chronotomy
Black Saint

Heinz Geisser/Guerino Mazzola
Someday
Silkheart

By Ken Waxman
June 20, 2005

Switzerland has never had an overabundance of jazz musicians, let alone outright Free Jazz players. Also, because of the cantons proximity to larger countries nearby and similarity in names, those not familiar with individual musicians might think certain Swiss players are respectively German, French or Italian.

So how do you account for an iconoclast like pianist Guerino Mazzola? Now 57, he’s combined an academic career – having published 13 books and over 90 papers in the fields of math, topology, brain-research and computer-music – with uncompromising Free playing. Often unfairly compared with Cecil Taylor – as it seems are all pianists more advanced than beboppers – his touch is nimbler and his concepts often more cerebral than the American. With references to Bill Evans and McCoy Tyner in his improvising, Mazzola, who once described Irène Schweizer, his country’s best-known avant-jazz pianist as “a nice bebop player”, has steadfastly followed his own path since 1980. MORE

February 17, 2003

SCOTT FIELDS ENSEMBLE

From the Diary of Dog Drexel
Rossbin RS 008

Scott Fields is yet another musician interested in melting the boundaries between so-called jazz and so-called classical music.

He’s usually identified with the free music side of things through recorded and other sessions with the likes of bassist Michael Formanek, percussionist Michael Zerang, clarinetist François Houle and drummer Hamid Drake. Yet the Madison, Wis.-based guitarist also has advanced a method by which chamber ensembles like the one on this carefully designed CD can develop extended improvisations. MORE

April 24, 2001

SCOTT FIELDS ENSEMBLE

Mamet
Delmark DE-527

Self proclaimed programmatic music, MAMET is a series of interlocking compositions "guided by" five of the plays written by American playwright David Mamet. Mamet, the wordsmith, is notorious for the care he puts into the cadences of his dialogue and Madison, Wisc.-based guitarist Scott Fields has tried to reflect both the words and the structure of the plays in his tunes.

How well does he succeed? Quite well in a musical sense, since the improvisations created by the guitarist and his helpmates -- Chicago drummer Michael Zerang and New York bassist Michael Formanek -- could certainly stand on their own. But whether each properly reflects the dramatic work it's supposed to represent is more of a moot point. Keeping in mind that the guitar here represents Mamet's female characters and the bass his male ones helps prolong the idea.

MORE