Russell Carlson      John Corbett      Julian Cowley      Stefan Gijssels      Walter Horn      Hugh Jarrid      Chris Kelsey      Budd Kopman      Jon Morgan      Harvey Pekar      Alexandre Pierrepont      Massimo Ricci      Alexander Schmitz      Derek Taylor      Dan Warburton      Kevin Whitehead     

publications   Free Jazz Blogspot

personal contacts   Two emails. He gave Bitter Love Songs a lukewarm review because the music wasn’t as angry as the CD’s title suggested. English is his second language (more likely fourth) and he doesn’t understand that bitterness and anger are different emotions. I emailed him a note to this effect, but he stood his ground.

reviewed   Bitter Love Songs, Drawings, Fugu, I Never Meta Guitar

bias   It's hard to say, for sure, but it seems as though he listens primarily to rock and post-bop and he appears ignorant of New Music and Experimental Music. A few words from Stef: “The three great musicians of the last century all three came to their peak in the 60s: John Coltrane, Miles Davis and Jimi Hendrix. In the totality of human musical history, you can forget about the rest of twentieth century composers, but not those three.”

reviewership   Strong opinions and an absence of knowledge is a deadly combination. He also struggles when he writes in English. 2 upturned noses.

musicianship   Unknown.

aggregate rating   2 upturned noses.

from drawings   There are about five trillion other ways to organise notes based on external circumstances, most of which are possibly more valuable than the approach taken here. I have no problem that other art forms can generate inspiration for musical evocations, quite to the contrary, but not through such a mechanistic intellectual process. What Fields does, is just to create randomness. There is no link whatsoever between the drawings and his music. And none of the 98 pieces actually has anything to tell. They’re just a few sounds on one or several strings. Less interesting than a bee buzzing around your head. The good news is that “I had 254 takes, 171 of which I kept (…), a month later I culled the 171 acceptable takes down to 99, one for each track possible on the CD.” We were saved from listening to a triple CD.


by recording
by publication
by author
by concert