Dale Fielder | Dear Sir: Tribute To Wayne Shorter

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Dear Sir: Tribute To Wayne Shorter

by Dale Fielder

Fielder comes out of the gate blowing hard, aggressive, ferociously swinging tenor and with that blows away any preconceived notions about west coast jazz musicians not being able to deal with the same depth as their east coast counterparts. -JazzTimes
Genre: Jazz: Jazz quartet
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  Song Share Time Download
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1. Believer
6:35 $0.99
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2. Leopard In the Night
6:45 $0.99
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3. Rio
5:22 $0.99
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4. Barracudas
6:57 $0.99
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5. Afternoon In L.A.
5:04 $0.99
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6. Dear Sir
5:29 $0.99
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7. This Is For Albert
5:12 $0.99
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8. Midland Heights
5:05 $0.99
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9. A Moment's Respite
7:02 $0.99
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10. Teru
7:51 $0.99
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11. Up A Level
4:39 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
THE DALE FIELDER QUARTET
DEAR SIR: TRIBUTE TO WAYNE SHORTER

#7 Jazz CD in America for 9 weeks April - June 1996 -Gavin Jazz

Excerpt from liner notes:
DEAR SIR finds Fielder fully ready to tackle the challenge of a CD program rendered in tribute to another of the masters of Fielder’s chosen instrument of expression, the great tenor and soprano saxophonist -and most significantly for this project, composer Wayne Shorter. Himself a Coltrane devotee, Shorter offers object lessons in the development of a singular approach to his instrument every time he lifts horn to mouth. A truly cerebral player, it is not only Shorter’s playing that has attracted musicians of Dale’s generation, it is probably more a matter of Shorter’s keen compositional skill and wit that have made his music some of the most widely played and indelible in modern jazz over the last twenty years.

Ordinarily, Fielder employs both the alto and the tenor sax, but for this date he ventures forth with tenor firmly in hand. It’s not as easy as with some to zero in on Fielder’s primary influences, though he is obviously chasin’ the Trane, as so many players of his generation and beyond usually are. Though Coltrane is in the house, and one can detect faint recollections of James Moody, particularly when he elicits a furtive cry in his upper register, Dale Fielder has moved well beyond the mimicry stage and continues to hone a personal sound. That sound is born out of things he learned and synthesized from a number of sources -certainly the case with all significant players, -but it is clear that sound is mature, confident, and rapidly becoming personal.

For this release, Fielder and Company lay down eleven tracks, including six originals, four from Mr. Shorter, and one arrangement of Gil Evans’ Barracudas. What results is an eminently balanced session that is truly a program. Interestingly, Fielder has chosen not the obvious Shorter “standards”, beauties like Infant Eyes and the oft-performed Footprints or Ping Pong from Wayne’s Jazz Messengers’ days. Instead, he has mined such gems as the memorable Rio, and This Is For Albert, a piece which cries out for lyrics. One recalls the gorgeous Dear Sir, the incandescent title track which is impressionistic Shorter balladry at its best, from Lee Morgan’s overlooked The Procrastinator session. Teru is another borrowing from Shorter’s abundant bag. Certainly the originals bear their own stamps as well. The opening waltz Believer, finds the leader establishing a commanding tenor presence right out of the box. His clean, sure-fingered lines tumble out of the horn with all due logic, and the band is right there, with Getz evidencing a significant role as second soloist immediately. Leopard In The Night, a line faintly reminiscent of You’ve Changed, shows Fielder’s ability at writing good melodies. Afternoon In L.A. is a bright, happy piece which pays pleasant tribute to how comfortable Fielder has found his home base since moving there from New York City.

Throughout these eleven pieces, the Dale Fielder Quartet gives a solid lie to the misguided notion that one has to be in New York to make significant jazz. With youthful players like Dale Fielder making such noteworthy music as is found on this fine new disc, the jazz scene in Los Angeles, and indeed in all of California, will thrive for the foreseeable future. “Dear Sir” is likely something future generations of saxophonists will be addressing Dale Fielder by . . . he’s got it.
---Willard Jenkins (1996)


Reviews:
At times, it seems as if saxophonist Dale Fielder is one of the national jazz scene’s best kept secrets. An incredibly talented instrumentalist as well as an accomplished composer, Fielder’s command of his instrument, his improvisational runs, the nuances, his warm mellow tone ---his total expression is flawless. ---Bob Agnew/LA Jazz Scene

[On Dear Sir: Tribute To Wayne Shorter] The young tenor saxophonist Dale Fielder, in a quartet with pianist Jane Getz, bassist Bill Markus, and drummer Thomas White, performs four Wayne Shorter compositions, Gil Evans' "Barracudas" (which featured Shorter), and six originals that sound a bit influenced by Shorter's conception. Trumpeter Dan Bagasoul makes the quartet a quintet on two songs. Fielder is a strong up-and-coming talent and, although not a Wayne Shorter clone, he hints strongly at the older saxophonist on several of these well-conceived tributes. In fact, this music sounds like something Wayne Shorter might have come up with if he had not changed direction in the early '70s. Recommended. ---Scott Yanow/All-Music Guide

Fielder comes out of the gate blowing hard, aggressive, ferociously swinging tenor and with that blows away any preconceived notions about west coast jazz musicians not being able to deal with the same depth as their east coast counterparts. Fielder’s tone is big and pungent, reminiscent of Trane’s and he possesses an impressive command of his instrument in both low and high registers. No happy jazz here, just a lot of serious dealing. ---Bill Milkowski/JazzTimes Magazine

As a saxophonist, Fielder’s style lies somewhere between Shorter’s tensile fragility and Coltrane’s towering strength. He straddles this line well. ---Robert Iannapollo/Cadence Magazine

His performances swing with dignified sounds and a sense of tradition, not to mention the kind of emotional content that great jazz demands. Seen earlier this month at Club Brasserie in West Hollywood’s Bel-Age hotel, the saxophonist and his combo took the roof off the place! ---Bill Kohlhaase/LA Times

Dale Fielder attacks the rhythms on the saxophone with his dynamic solo-ability and eats up bop solos like pancakes! ---Glenn Davis/LA Watts Times

[RE: Previous CD 'Free Flow'] Here’s something of a rarity, a debut disc from the west coast by a young black saxophonist that bears no hints of fuzak or funk trappings wrapped in a palm tree mentality. This is updated and unrepentant hard bop of the Blue Note mold. Fielder’s main instrument is the alto which he invests with a tart tone in the manner of Mr. McLean while constructing idea-filled phrases rooted in the Charlie Parker continuum. His compositions are dotted with twists remindful of Wayne Shorter scripts. This California reedman has come up with something more than a mere slice of nostalgia for the scotch and slippers set. I say more power to him! ---Larry Hollis/Cadence Magazine

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