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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   Improjazz

personal contacts   We have had pleasant email correspondence. Alexandre is also somehow connected to the French label, Rouge Art, which released my CD We Were The Phliks.

reviewed   Five Frozen Eggs, Sonotropism

bias   Avant-garde jazz.

reviewership   Writes in a flowery, poetic style with great enthusiasm. 4 upturned noses.

musicianship   Unknown.

aggregate rating   4 upturned noses.

from Five Frozen Eggs and Sonotropism    Unless an unpredictable upheaval happens (for example in terms of guitarists, it is necessary to be able to remember our “conversations” about James Emery, Masujaa, Spencer Barefield, Joe Morris, Bruce Eisenbeil…), Scott Fields is destined for a dazzling future where he lives, on the borders of the lands of jazz—or its installation. There (in Madison, Wisconsin), on the 13th, 14th and 17th of October, 1996, he brought together two ensembles that he knows better than anyone else. With the first, Fields played a perpetual game, his instrument clearly linking with either the piano or with the bass, depending on whether he wished to give to the variation a slippery character or an impenetrable one. There is also in his phrasing a mastery of a gliding flight which ignores caution or vertigo, as well as an emphasis on tiny boisterous contractions, six cords without fragments, but in balance across which Marilyn Crispell continues to exert the power of slackening, especially during the dispersion of Anthony Braxton’s quartet. In addition, Fields draws out his guitar and broadens it, giving the impression of tranquilly sinking himself into the eye of the cyclone; the body worn-out from the storm prevails over outer dangers and themes.

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