“Fielder’s chops are unequaled. I honestly don’t believe that there is a better proponent of the instrument alive and playing today. If you’ve never been a bari fan, his explosive creativity and enormous passion displayed on this recording may very well change your mind. ”
— Roman St. James / Jazz Review
Dale Fielder is a hard-working improviser who knows his way around his horns. Alto, tenor, soprano and baritone sax are his axes of choice --- all played with the same high degree of emotional outpouring. One of Fielder’s most endearing qualities is his inherent rawness. He can play very smoothly if he chooses, but seldom goes that way. Close listening prompts an understanding of just how complete a package this L.A. sax man tends to be. Whether exploring an oblique 5/4 original such as "Troubadour Dreams" or the standard chestnut "Diane", Fielder’s lines always manage fruition, but his style demands that they stray out in left field, just missing the foul pole. Hey, its Fielder’s choice, but it’s impossible not to appreciate what he’s doing: shoot from the hip. Some of the finest saxophonists in jazz history --- namely Jackie McLean and Eric Dolphy have held this same command. The jazz world could use a few more free-blowing free agents like Fielder.
At times, it seems as if saxophonist Dale Fielder is one of the national jazz scene’s best kept secrets. An incredibly talented instrumentalist as well as an accomplished composer, Fielder’s command of his instrument, his improvisational runs, the nuances, his warm mellow tone ---his total expression is flawless.
Bob Agnew/LA Jazz Scene
Fielder comes out of the gate blowing hard, aggressive, ferociously swinging tenor and with that blows away any preconceived notions about west coast jazz musicians not being able to deal with the same depth as their east coast counterparts. Fielder’s tone is big and pungent, reminiscent of Trane’s and he possesses an impressive command of his instrument in both low and high registers. No happy jazz here, just a lot of serious dealing.
Bill Milkowski/JazzTimes Magazine
DEAR SIR finds Fielder fully ready to tackle the challenge of a CD program rendered in tribute to Wayne Shorter. Throughout these eleven pieces, the Dale Fielder Quartet gives a solid lie to the misguided notion that one has to be in New York to make significant jazz. DEAR SIR is likely something future generations of saxophonists will be addressing Dale Fielder by. He’s got it.
Willard Jenkins/JazzTimes Magazine
As a saxophonist, Fielder’s style lies somewhere between Shorter’s tensile fragility and Coltrane’s towering strength. He straddles this line well.
Robert Iannapollo/Cadence Magazine
His performances swing with dignified sounds and a sense of tradition, not to mention the kind of emotional content that great jazz demands. Seen earlier this month at Club Brasserie in West Hollywood’s Bel-Age hotel, the saxophonist and his combo took the roof off the place!
Bill Kohlhaase/LA Times
Dale Fielder attacks the rhythms on the alto saxophone with his dynamic solo-ability and eats up bop solos like pancakes!
Glenn Davis/LA Watts Times
Here’s something of a rarity, a debut disc from the west coast by a young black saxophonist that bears no hints of fuzak or funk trappings wrapped in a palm tree mentality. This is updated and unrepentant hard bop of the Blue Note mold. Fielder’s main instrument is the alto which he invests with a tart tone in the manner of Mr. McLean while constructing idea-filled phrases rooted in the Charlie Parker continuum. His compositions are dotted with twists remindful of Wayne Shorter scripts. This California reedman has come up with something more than a mere slice of nostalgia for the scotch and slippers set. I say more power to him!
Larry Hollis/Cadence Magazine
text: (626) 375-0827