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Almost frightening in its execution,   this is a trio that creates music of overwhelming density… Even in their freest moments, the group has a high level of discipline and conference. For the most part, the improvisations appear democratic, with the lead equally shared between Turner and Fields. Davis meticulously accents and shadows the assertions of the duo; his shimmering cymbals echo their distortion while the din of his snares and toms enhance the color of the dialogue. Whether it be the slurred, raucous guitar, or the ominous resonating cello, their improvisations are full of textural fervor, resulting in a sound as jarring and explosive as the calamity that influenced it. — Jon Morgan,   Cadence Magazine



The Madison-based Scott Fields Ensemble   doesn’t waste a moment on its sinewy debut for Berkeley’s Music & Arts. Picking up where the late Sonny Sharrock left off, Fields threatens to wear out his plectrum five minutes into “Sputter,” the furiously free second movement of “Disaster at Sea,” an intricately developed long-form work that evokes the tensions of its aqueous theme with unexpected irony. From then on, the guitarist/composer alternates between aggression and reflection, building a tonal architecture that’s consistently interesting and often quite stunning. — Tom Laskin,   Isthmus



All together, the CD is   a rattling affair. Fields attacks his guitar as Cecil Taylor or Borah Bergman attack the piano. He takes massive swipes across it, covering a scatter of notes that get clustered so tightly together that the impact of each piece takes multiple listens to blossom. Fast and loud, the trio slams its way through Fields’ highly developed approach to the guitar and composition. — Andrew Bartlett,   Midwest Jazz

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