Dale Fielder | Free Flow

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Free Flow

by Dale Fielder

Dale Fielder attacks the rhythms on the alto saxophone with his dynamic solo-ability and eats up bop solos like pancakes! ---Glenn Davis/LA Watts Times
Genre: Jazz: Bebop
Release Date: 

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  Song Share Time Download
1. The Stroker
5:30 $0.99
2. Free Flow
4:38 $0.99
3. The Man From Lima
7:41 $0.99
4. Fait Accompli
7:53 $0.99
5. Full House
7:42 $0.99
6. I'll Take Romance
6:29 $0.99
7. Going Places
4:56 $0.99
8. Ballad For Beulah
7:28 $0.99
9. One By One
5:22 $0.99
Downloads are available as MP3-320 files.


Album Notes
FREE FLOW (1993)

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

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

An excellent hard bop saxophonist who triples on alto, tenor, and soprano, Dale Fielder sometimes sounds a bit like Sonny Stitt, Art Pepper, and Hank Mobley, but generally displays his own musical personality. On this mostly straight-ahead set from 1993, Fielder and a variety of musicians who are mostly based in Los Angeles (including trumpeter Dan Bagasoul and pianist Greg Kurstin) perform music ranging from Blue Note-style hard bop to selections influenced by John Coltrane. Among the most memorable selections are Julian Priester's "The Stroker," Wes Montgomery's "Full House," "I'll Take Romance," and Wayne Shorter's "One By One," although Fielder's three originals are excellent, too. Dale Fielder and his sidemen deserve much more recognition for their musical talents. ---Scott Yanow/All Music Guide

Excerpt from liner notes:
In this session, Dale Fielder’s first CD recording, Fielder has displayed his connection with his roots in the hard-bop and post hard-bop traditions. But more importantly is his choice of recording venue, the live studio performance. Recording “Studio-Live” as Fielder puts it, “allows for more spontaneity and looseness of the general vibe for the musicians. Recording as if performing allows each musician to more freely express how each feels on a given day.” Fielder’s philosophy has yielded successful results; all nine compositions in this collection were done as first takes without exception. No overdubbing or effects were used. The music possesses a raw, earthy quality as if it’s next to your heart.

Dale Fielder has been described as “possessing a truly authentic jazz saxophone style.” I hear Charles Parker via a strong Jackie McLean strain, with traces of Coltrane and Shorter. On one hand his authenticity seems to place him out of the late 50s and early 60s; but being a young man, he is very much a product of his own time as I have witnessed at his recent performances at LA’s 5th Street Dick’s jazz club, where periodically he’ll take the music totally outside and run with it!

The core of the personnel for this CD is culled from his working Quintet which consists of Dan Bagasoul on trumpet, a seasoned vet; the sensational young pianist Greg Kurstin who has worked with Christopher Hollyday, Bobby Hutcherson and Charles McPherson; bassist Bill Markus and young drummer, Ocie Davis III, making their first appearance on CD. The quintet is augmented by drummer Chuck McPherson, son of alto legend Charles McPherson; Rock Deadrick on percussion from Tracy Chapman’s band; tenor saxophonist Gary Joynes who has worked with visionaries Gil Evans and George Russell; and the ‘incredible jazz guitar’ of Eric Johnson who is also a Clarion Jazz artist with his own CD (Clarion Jazz 89301).

For his first CD, Fielder has done well. His strong musical identity and input affords him to be a permanent asset throughout the jazz world. He is someone to watch for as we move toward the 21st Century. Fielder adds, “My greatest burden and greatest strength lie in the fact that I am definitely not shallow in realizing my identity as a musician and what I want to do in music. I feel that it is such a privilege to be a part of it all. I am finally learning how to adjust the composition of melody, rhythms, harmony and lyrics to affect people’s consciousness in a positive and beneficial way whether they are aware of it or not. It’s about really learning how to be a healer . . .” ---Leslie Colrane (1993)



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