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Recorded in a strange, hollow   ambience, this is a spirited if ill-tempered sequence of group pieces, with a coda where the ensemble members each played solos which were then doctored by Gregory Taylor’s software into a droning, rattling track that sounds somewhat like old musique concrète. Unfathomable. Three stars (of four). —    Penguin Guide to Jazz on CD, seventh edition



Mamet is another one which   shrieks “concept.” This time, a musical pendant to the eponymous playwright’s work. Slow, dense and effortful, it’s hardly an enlightening or even very involving listen. 2½ stars (of four). —   Penguin Guide to Jazz on CD, seventh edition



Five Frozen Eggs — the sleeve-notes   explain the title — strikes something of a balance among the various styles Fields is investigating, loosening the chamberish qualities of some of the pieces without surrendering the rather formal, almost courtly kind of free organization he seems to be interested in. His own playing here eschews much in the way of effects and there is a sense of contrapuntalism among the four musicians which makes this record perhaps the best place to sample Fields’s music — energetic, occasionally volatile, but fundamentally about form and its effect on content—   Penguin Guide to Jazz on CD, sixth edition



The feel here is of   an exquisite piece of chamber-jazz just sufficiently dirtied to keep it lively. Crispell, who’s done so much of this kind of playing with Anthony Braxton, is perfect for the job, and Ochs is equally capable.—   Penguin Guide to Jazz on CD, sixth edition

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