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Guitarist Scott Fields' distinctive approach to composition marches to the next level on this third installment of the "Beckett Trilogy," where he uses additional Samuel Barclay Beckett (1906-1989) plays as an inspiration for these three extended works, based on the novelist's text/plots.
The ensemble seemingly weaves some of Beckett's black comedy and humor into concise and rather spirited statements via geometric, non-linear and asymmetrically paced grooves with incongruent slants, offering some brain candy for your psyche to nibble on. Fields' complex works contain elements of pathos amid traces of melodic content and themes that are often renewed and deformed. And there's lots of counterpoint between the guitarist and tenor saxophonist Matthias Schubert in tandem with fractured pulses, false endings and rough-hewn free style excursions. The band undulates the current with variances in pitch and cadences that occasionally lead to some fun and frolic.
..." but the clouds ..." is one of three extended pieces designed with Avant chamber inferences, punk jazz, and quietude, segueing to a bit of fire and brimstone, spurred by cellist Scott Roller and drummer Dominik Mahnig's rambunctious exchanges. Fields' electric guitar distortion techniques spark a gritty, in-your-face muse, amped up by the drummer's jackhammer-like accents and brusque fills. Nonetheless, the quartet maintains a continuum of suspense, although these pieces demand some degree of critical listening: it's by no means background or mood music.
Throughout, the quartet seemingly integrates Beckett's manifold plots that continually unfold, complete with scenic environs, narrow alleyways, big city debacles and penetrating narratives, accentuating Fields' excitedly imaginative and largely incomparable methodologies.
Track Listing: Krapp's Last Tape; ... but the clouds ...; Catastrophe.
Personnel: Scott Fields: electric guitar, compositions; Matthias Schubert: tenor saxophone; Scott Roller: cello;
Dominik Mahnig: percussion.
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
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