DALE FIELDER QUARTET RESILIENCE! HINDSIGHT 20 YEARS


posted by Robert J. Carmack        #@blues2jazzguy

Los Angeles_ Dale Fielder, the LA based  musician,composer,bandleader is just one of those rare entities that chooses to grow and get better with time. After more than 20 years as the leader of Dale Fielder Quartet, Dale fielder sax orange shirt He keeps re-inventing himself with his great original compositions or performing on different instruments he has mastered,which now seems to be the Baritone Sax.

This writer and Dale Fielder connections goes all the way back to 1992 in the springtime, as Los Angeles was just trying to heal its wounds from a bitter uprising over the Rodney King /LAPD incident. One of the brightest vehicles to come out of that time was the emergence of Leimert Park Village , a quaint piece of L.A. dedicated to the African-American and World Cultural Arts community where it all came together as “One”. Another positive wave of transition came into play was the re-emergence of the “Coffee House”. the most popular of that period was Fifth Street Dick’s . Truly a magnet for good classic Jazz, spirited conversation,chess and later on “LIVE” Music performed 7 days a week. The Owner Richard Fulton began his business model of just having a safe, & sober place for recovering people to enjoy life without undue influences that contributed to their downfall in life.after his Coffee House’s popularity grew so quickly, Richard an avid jazz collector, moved to the next level and began presenting jazz in a Jam session format on Fridays and Saturday night. He hired Dale Fielder to “lead the charge and see what develops”, Inside of six months, Richard had the most talked about “Spot” in LA, Musicians were coming over after the Gigs and hitting with Dale and the fellas, along with The World Stage around the corner, There was nothing like this phenomena since the 1950s or 1940s on Central Ave. Dale Fielder was at the Eye of the Hurricane, as all of this Jazz Utopia was going Down.

Dale,Dan Bagasoul,Greg Kurstin,Ocie Davis,Bill Markus 1993

Dale,Dan Bagasoul,Greg Kurstin,Ocie Davis,Bill Markus 1993

 

 

 

 

 

 

 

 

 

pianist Jane Getz

Jane Getz pianist

DRUMS THOMAS WHITE Mr. Taste

Mr. Taste -Thomas White drums

Bill The Count Markus

The Count / Bill Markus

Dale began to develop a reputation for having great musicians in his band and his playing was becoming legendary on saxophone especially on alto which he was playing a lot in those early years. Two of the young-lions of that era that were constantly among the personnel used by Dale Fielder were , Thomas “Mr. Taste” and Bill “The Count” Markus.  They were among the best of the best that performed powerfully when called upon. Jane Getz who had already made her bones inside the New York Jazz scene  with the likes of Charlie Mingus and other legendary fixtures on the scene, was now living in Los Angeles .She and Dale found each other through the music in LA , and fit in perfectly as the final piece of the Quartet, bringing experience, skill and panache to the group.  21 years later, here they are still glowing. still pumping out great original jazz compositions. They perform together today as a family unit, each knowing the other’s strengths and nuances, and how to make them even better.

" Fresh New Material" from Dale Fielder

” Fresh New Material” from Dale Fielder

There are many words to describe greatness and masterful, I choose “passionately sublime” to attach to this group. I can also say the same for their latest presentation on CD, RESILIENCE! a double CD by the Dale Fielder Quartet.

Passion is a word that most definitely sears all of Dale Fielder’s compositions and arrangements. This writer is always most struck by his choice of titles for his songs he writes. I also respect his courage for writing and producing his own music, compositions that rests on their own merits, while giving  nods to the masters who came before. That’s saying a lot when many of today’s so-called jazz musicians are just faxing – in rehashed standards, Dale is smashing the molds ,even present beautiful, romantic music with the “Hog-legged Baritone Saxophone”.

He brings a new elegance to this instrument standing out from others who might have chosen the more”sexy soprano or tenor”.

“On Resilience, Fielder is still able to barrel through the changes of these quite poignant tunes and still make Humming-bird like sensitivity in his solos, that offers a balancing-act relegated mostly to Cirque Soliel.”

Dale wanted this CD to be special , its a double CD!  a jewel of a caveat is unleashed in this session in the persona of Ms. Rita Edmond. another Los Angeles native that is kept almost on a “NEED to KNOW” basis, and You need to know Rita. If one wanted to prove why this genre has nothing but great days ahead,One need only listen to Rita Edmond and Dale Fielder play behind her charming  and skillful vocals. Without drawing obvious comparisons, but certainly this duo harken the days of Dinah Washington and Gary Mulligan.

Ms. Edmond sings on two of Dale Fielder’s most romantic compositions, Days and Night with You and Romance Serenade. These songs are among my favorites of Fielder’s previously recorded in early 2001 off the Romance Serenade CD performed instrumentally on tenor and soprano respectfully.

This time Dale attacks these songs with his own lyrics added and Rita Edmond delivering the message. She is a great communicator of song, which becomes her very own once she touches the melody. Both of these tunes are light and breezy,yet  so romantic and sexy. All of this happening with the sound of the baritone sax ,an almost Beauty and the Beast montage being summoned. This time the beast is the hero who gets the girl.

Edmond unapologetically embraces Fielder’s writing like she wrote the tune and comes across like another saxophone on the recording. I’m equally impressed with her ability to wrap her velvety voice around these lyrics, which sells the whole notion of why we even bother to listen to Jazz. I see Rita Edmond sky-rocketing to the top of the charts  and the new jazz divas list very soon.   ALL of this spells BUY NOW!!  Get RESILIENCE!

The Dale Fielder Quartet Double CD on Clarion Jazz

http://www.dalefieldermusic.com

Dale & Rita 2015 photos Craig Robinson

Dale & Rita 2015
photos Craig Robinson

 

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DALE FIELDER QUARTET 20 YEAR CELEBRATION JAZZ SPOKEN HERE!


A LOOK BACK at Last Year 20th Year Celebration of the Dale Fielder Quartet and his Robert J. Carmack Connection .. Resilience! new double CD review for DFQ coming August 25! http://www.hipstersanctuary.com

Hipster Sanctuary

posted by #@blues2jazzguy     hipstersanctuary.com staffwriter

The MAN and his GOLDEN HORNS The MAN and his GOLDEN HORNS

JAZZ SPOKEN HERE  is a combination of JAZZ and POETRY  being performed  by Jazz man Dale Fielder and his Quartet. also performing as special guest poet is longtime jazz promoter and journalist,Robert J. Carmack. DALE FIELDER QUARTET is celebrating its 20th year as a group playing together, and Carmack’s  Jazz Blog/E-Zine, Hipster Sanctuary.Com is in its 17th year of promoting jazz, By Any Medium Necessary”.

All of the festivities get started at 7pm at the upscale Jamaican restaurant ,Kingston Cafe located at 333 Fair Oaks, Blvd. in Pasadena,California. $15 at door

The two guys met at an artists enclave in Los Angeles , called 5th Street Dick’s Coffee House in Leimert Park, literally weeks after the 1992 LA Riots. Dale was running a Jam session that started at midnight every weekend, soon it became THE…

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GOOD-BYE FOR NOW TOOTS THIELEMANS: FINAL NOTE 1922-2016


posted by Robert J. Carmack

Toots Thielemans

Jean-Baptiste Frédéric Isidor, Baron Thielemans, better known as Toots Thielemans,was a master jazz musician. He was well-known for his harmonica playing, but was a sublime guitarist and whistle soloist, often a first-call sessions player.

Many times over the decades of his career, he could be heard on Jazz/POP recordings, or in movie themes and scores. I first experienced Mr. Thielemans masterful skills on several Quincy Jones recordings starting in 1970, Gula Matari.

Born April 29, 1922, in Brussels, Belgium  Died: August 22, 2016

toots2NOW

 

 

 

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BONE SOIR, CONRAD HERWIG EXPANDING THE LEGACY OF GREATNESS


Hipster Sanctuary

posted by Robert J. Carmack -#blues2jazzguy Conrad_Herwig In an era where the only thing that counts is Butts in the seat and the cling-clang of a CASH REGISTER while musicians struggle to play a solo over the YAMMERIN’ OF PSUEDO-HIPSTERS TALKING ABOUT ANY AND ALL THINGS EXCEPT THE MUSIC??  So what happens is, most musicians just “fax it in” and record mediocre at best dribble, then argue about what not to call it. Then, rarely there are Jazz musicians like Conrad Herwig whose respect for the music and, those that played it, never wavers in his quest to continue the legacy of greatness.  One not only feels that in his recording sessions but, also on the bandstand whenever he appears around the world.

http://www.allmusic.com/album/another-kind-of-blue-the-latin-side-of-miles-davis-mw0000697110

“CONRAD HERWIG SLICES THE GROOVE DOWN TO THE BONE”     HiPSTER SANCTUARY

New York-based jazz trombonist Conrad Herwig is considered one of the world’s complete jazz…

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THE FIRST WATTS FESTIVAL: LOOKING BACK AT AUGUST 1966


I guess it’s always a surprise to find that another year have come and gone, then you realize that it’s not just another year, but a decade has come and left.

Plight Pixs Robert Rasta hat I’m not naive to believe time should stand still for me,but I was just reflecting with a good friend of mine, who also grew up in LA ,just like I did, he on the Eastside and me in the Watts section of Los Angeles in the Nickerson Garden Projects from 1960-1967, then in January of 1967 we moved to a house in Compton near Rosecrans and Rose Ave.

I remember the Summer of 1966 like it was only yesterday. School let out for the summer in mid June. Now what was I going to do , I had no job prospects , but I had my Music. at the time, I was playing in a bunch of different bands to keep me busy.One day I was lying on the grass in my backyard when suddenly a bunch of people I knew came by and said, hey! If you want a summer job you better go up to Central and 113th street, They’re handing out jobs, free lunches and you have to be at least 15 to get paid. Since I was turning 16 in August I qualified. So I went up and got me a job working with little kids teaching arts & crafts, and basically baby-sitting some little wild kids that never had anybody pay any attention to them or teach them about the arts, have “RAP sessions about life and just growing pains of “being black” in 1960s LA..  All of this just One year removed from one of the worst riots in 20 years , over 34 dead, thousands arrested and over $40 million in property damage. So all of a sudden, a lot of money was flowing into WATTS in general, but L.A. period. This man name ,Ted Watkins founded this Jobs training and youth program, along with the UAW and U.S.Labor department

WLCAC summer jobs 1967 Ted W

Also the local politicians needed to find something to counter-balance what had happened just a year before .(1965 Riots)           A cultural committee was established of community people along with clergy and politicians. They came up with a cultural project concept of a Festival that recognized Black people who were doing things in the community.  Entertainers provided an artistic contribution and artists painted Murals on old or burnt building. Watkins had a full grassroots youth labor movement to clean up the city with paint, brooms, saws, pitch forks , everybody bought-in to chip-in and clean up the city.

Bobby 1966 CentennialNOW

Robert Carmack @15 playing alto sax 1965

To revitalize the area, abandoned buildings became training centers for adults with no job skills, college students,high school students had jobs, Vets returning from Viet Nam found work.    By July ,1966 We had heard a rumour of a planned Parade with a big name Grand Marshall and Queen of the Festival. Ultimately, the Festival Committee selected high-profile individual, Sargent Shriver as Marshall and actress Brenda Sykes as 1966 Queen of WATTS Festival.

1966 Grand Marshall

1966 Grand Marshall

Queen of Festival 1966

Queen of Festival 1966

 

 

 

 

 

 

 

I was already excited because we were getting ready to do a show in June at Jefferson High school “Alive and Deprived in 65” was the name of the show that featured Our youth band, saxophonist Curtis Amy quintet with Carmello Garcia on Congo. The great Sam Fletcher vocalist and Gerald Wilson Big Band headlining. That was a really big deal to this 14-year-old saxophonist.

So by the end of July 1966, I had two things going for me,  I was going to be involved with the very first WATTS Festival, just 12 months after the whole town was in flames. The youth jazz band was appointed by Gerald Wilson to “open” for the Sunday afternoon program of Jazz under the Big Tent in Will Rogers park , Yay!! That was exciting. but I also worked for WLCAC as an art instructor, and they had selected some of my work on Patio furniture made out of old Redwood logs and broken pieces. Myself and two other youngsters my age had formed this company called CHB ENTERPRISES, a teen company. Our work was so good it was selected to appear on the WCLAC float in the parade.  We had previously appeared on a local (KTTV) channel, Louis Lomax TV show, mainly because we were denied entrance into the Junior Achievement organization, a national youth business enterprises organization  founded to encourage youth to explore business enterprises. They were racist and we exposed them on TV. One year later we got an offer to join them, but we refused and moved on, with dignity intact.

So with all the excitement of being in the very first Festival almost over-whelming to say the least. Two weeks away from the beginning of the new Festival, another rumour started. The new sensational musician that was making waves in the jazz field and on the radio with his new jazz sound on trumpet.

A South African musician named, Hugh Masakela was revising Herbie Hancock’s Cantaloupe Island hit on record. Radio stations could not stop playing this guy’s music from an album entitled, The Americanization of OOGA-BOOGA. Man! did this guy  really dominate on radio.. more than Miles Davis, more than Coltrane , more than anybody else on radio including rotation on R&B stations too. He was slated to perform a concert to open  up the whole festival on a Friday night at LA Jordan High school.  Tickets sold out so fast, I never got a chance to buy any. Its been a major part of the folkloric legacy of the very first WATTS Festival.

The Hugh Masakela Group consisted of  Masakela on Trumpet/Flugelhorn/vocals, Larry Willis piano, Henry Franklin Bass, Henry Jenkins Drums and Big Black percussion.  Over the years I have either met, or interviewed some of the band members. Most recently over the last two years, I’ve met and befriended Big Black, a tremendous percussionist.  I always admired and respected his playing. he’s still active as a musician. (Shown in the picture below) I ran into him  on a gig with his old friend and former bandmate, Henry Franklin in Riverside, California.They both sounded very strong some 50 years later. I sometimes wish I had a time machine, since I don’t…I just use the 2nd best method, MUSIC. It always bring you back and take you there too. what a lifetime of great memories through music and travel..the window to my soul.

shown: music journalist/producer Robert J. Carmack with drummer Big Black

Robert J. Carmack with drummer Big Black -2016

 

JAZZ LEGENDARY VIBIST BOBBY HUTCHERSON 75 HAS PASSED 1941 – 2016


posted by Robert J. Carmack

Bobby Hutcherson in suit  color pix

 

 

 

 

Bobby Hutcherson:1941-2016 The most accomplished vibraphonist and composer to emerge in the latter half of the 20th Century,has passed at age 75 Monday, August 15th. Bobby Hutcherson is survived by a wife and a bevy of family and close friends all grieving.

Hutcherson redefined the role of the Vibraphone in modern jazz.

A retrospective follow-up piece by music journalist and jazz historian, Robert J. Carmack  coming soon to Hipster Sanctuary.Com .

Bobby hutcherson 2 color in vest

 

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POETRY JAZZ ENSEMBLE PLIGHT DEBUTS AT BILLY HIGGINS WORLD STAGE


Posted by Kamaad Tauhid   #blues2jazzguy

Recently in Los Angeles California, Night of the Grassroots Hip-Nosis featuring PLIGHT Jazz Ensemble took the Billy Higgins World Stage’s audience on a “Time machine” ride back to the Jazz scene 1960s style.” according to one audience member. Plight ,a jazz/poetry band led by jazz journalist and producer Robert J. Carmack  paid homage to Bobby Hutcherson and Jackie McLean music.

Robert J. Carmack Plight Jazz Ensemble

Robert J. Carmack Plight Jazz Ensemble

Carmack and his group performed to a very receptive audience as they plumbed through such classics as  Jackie McLean’s,Riff Raff, Blues in a Jiff, HipNosis and Plight. In addition to McLean’s compositions, they also tackled some of Bobby Hutcherson’s dynamic tunes from his early Blue Note years like, Slow Change, Nights in Barcelona, and Little B’s Poem. Robert Carmack wrote original poems and performed them along with the band in an orchestrated approach to presenting these classic gems with a new spin.

The evening began with special guest, the award-winning playwright and poet, TU’NOOK, who’s highlight piece of her solo set was a poem about women prostitutes that ply their trade on a fairly infamous street in Los Angeles.
Plight, then opened up their first set with a non-playlist song to warm up the room with an uptempo version of Speak Low. After two blustering solos by Dale Fielder and Bobby West on Speak Low, the group tackled the evening’s playlist.

Busting out of the gate with Hutcherson’s recording penned by Harold Land, Night in Barcelona. the cut featured eclectic solos by Dale Fielder on soprano sax and Derf Reklaw on Flute while Bobby West stunned the audience with a piano accompaniment and Synth “Vibes” on electronic keyboards. The versatile band was able to pivot all evening with McLean’s hip and bluesy tunes balanced with Hutcherson’s complex harmonic and melodic treasures. One of the more exploratory tunes of the night was Slow Change a harmonic rich minor piece in 3/4 Sus. Carmack’s intertwining of the original lyrics and the new spoken word content sent the audience over the top. Hipnosis from the album with same title by Jackie McLean. It was presented in a unique ensemble-like statement of melody without a bridge. a haunting bass line with the vamping of the solo parts in a minor blues form that sets-up inside-out improvisations by pianist Bobby West and flautist Derf Reklaw. After his solo on Baritone sax, Fielder joins the bass line on the melody parts. followed by Carmack’s spoken word to take the song home.

PLight Band consisted of Bobby West on piano, Reggie Carson bass, Derf Reklaw percussion & flute, Cornell Fouler drums with special guest saxophonist,Dale Fielder. Robert J. Carmack Poet.

Plight gig-Robert and Dale alto photo by Shead

photo by Mike Shead

Hipster Sanctuary.com is happy and excited that we had great sponsors on our project look forward to their participation in our upcoming Pocket Jazz series in the coming months.

our sponsors:

Levias & Associates ad pageLevias & Associates Attorney Referral services

 

 

 

Taco Pete  take-out & catering  Taco Petes NOW1

 

 

Russell Harrison Master Herbalist   Russell Harrison

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SAXOPHONIST DALE FIELDER LAUNCHES NEW DOUBLE CD RESILIENCE!


" Fresh New Material" from Saxophonist Dale Fielder

 

 

 

 

 

 

 

 

 

 

Dale Fielder is a jazz saxophonist, composer and band leader. Fielder is best known for his work as a baritone saxophonist since his 2004 CD, “Baritone Sunride“.  He is devotee of the late great jazz baritone saxophonist Pepper Adams. Fielder was actively involved  in producing and performing at the 1st International Pepper Adams Jazz Festival in Los Angeles in October 2012 where he shared the stage with jazz baritone sax great Gary Smulyan.

The MAN and his GOLDEN HORNS

The MAN and his GOLDEN HORNS

Fielder followed the Pepper Adams celebration by touring with his Tribute Quintet performing his project: “The Music of the Donald Byrd/Pepper Adams Quintet 1958-1961”. Their CD ‘Each Time I Think Of You‘ was released in Oct. 2012. In 2014, Fielder released his 15th CD, “Dream Dancing” – Live at Lincoln Park with guitarist Eric Johnson. Fielder is releasing his 16th CD, “Resilience” August 5th  2016, with his long-time Quartet featuring pianist Jane Getz. The project celebrates the quartet’s 20th Anniversary in 2015.

Come Out and See Dale Fielder Quartet perform from his new CD, RESILIENCE!  with Special Guest Vocalist Rita Edmonds Los Angeles County Museum of Art Wilshire Blvd & Ogden Ave.

Two Sets: 6pm to 8pm for more info: http://www.dalefieldermusic.com

 

 

 

 

 

 

 

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BASSIST JUINI BOOTH QUARTET APPEARING AT SMALLS JAZZ CLUB


Saturday, August 6, 2016   7:30 PM – 8:30 PM only
THE JUINI BOOTH QUARTET
“Buhainia ‘s Delight” – The Music of Freddie Hubbard  

JUINI BOOTH (bass) // JOSH EVANS (trumpet) // BENITO GONZALEZ (piano) // KUSH ABADEY (drums)

 Smalls Jazz Club

183 West 10th Street

New York City, New York

10014 USA     www.smallslive.com

Juini Booth 20014

Juini Booth 20014

 

Arthur “Juini” Booth, bassist/composer, lives and works in New York City. Playing professionally since 16,juini-booth-2 Juini Booth has expanded the range of the contrabass into a refined personal language of intense acoustic awareness and spatiality of sound. Firmly rooted in the forefront of the American jazz tradition, which he has helped to shape, Booth’s music also integrates influences from world music, emerging beyond the boundaries of categories to express the poetics of universal humanness.

His compositions reflect a masterful use of simple melodic themes developed through unexpected harmonies, unusual tonal qualities and time relationships, inviting the listener to a new level of musical perception.

Booth , has performed and toured for over 30 years with jazz musicians from Art Blakey and the Jazz Messengers to Tony Williams “Lifetime” to Coleman Hawkins to Albert Ayler to Chuck Mangione to Sun Ra to McCoy Tyner.

Juini tours extensively in Western and Eastern Europe, performing solo bass concerts in the U.S., Canada and Japan. Some career highlights have been a concert with Randy Weston at the Tangiers Jazz Festival, Morocco; and with Sun Ra Arkestra in Tiblisi,Georgia (USSR) a film of painter Larry Rivers entitled “Round Trip.”

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