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Dale Fielder Quartet @Alvas Showroom Live-Stream

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Alvas Showroom, 1417 W 8th St, San Pedro, CA 90732

Dale Fielder Quartet @ Alvas Showroom Live Stream Concert Dale Fielder - baritone, tenor, soprano & alto saxophones Jane Getz - piano Bill Markus - bass Thomas White - drums

Tonight's performance is #3 in a series of live-stream concerts the Dale Fielder Quartet has performed during the covid pandemic era, beginning in May of 2020. The band will be performing an hour of original music with a standard or two thrown in, and the always informative commentary between tunes by Fielder as he announces each tune. As always, the Dale Fielder Quartet delivers a dynamic and interesting performance of jazz music that can be thoughtful while it is entertaining and enlivening.

Dale Fielder Quartet @Alvas Showroom Live-Stream

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Alvas Showroom, 1417 W 8th St, San Pedro, CA 90732

Dale Fielder - saxophones / Jane Getz - piano / Bill Markus - bass / Thomas White - drums

Tonight's performance was originally planned as a live recording session for the Clarion Jazz label. Unfortunately due to Covid, it has been rescheduled as a live-stream performance. The band will be performing an hour of new, original music. As always, the Dale Fielder Quartet delivers a dynamic and interesting performance of jazz that can be thoughtful while it is entertaining and enlivening

Facebook Live-Stream Concert - Free To The Public

Dale Fielder Quartet

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Katy Geissert Civic Center Library, 3301 Torrance Boulevard, Torrance, CA 90503

An afternoon with the Dale Fielder Quartet premiering new works in preparation for their November 7th live audio and video session and performance at Alvas Showroom in San Pedro, CA. FREE TO THE PUBLIC and also performance will be live-streamed on Facebook Live. With Jane Getz-piano, Bill Markus -bass & Thomas White drums as the quartet performances in their 25th year!



Dale Fielder

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Dale Fielder Qt. BET 2000

Dale Fielder at Fordham University by George Kanzler When Dale Fielder takes the stage at Fordham University’s McGinley Ballroom in the Bronx this month, it will be Fielder’s first appearance in New York this century. Fielder left New York, where he had lived for eight years, in 1988, settling in the Los Angeles area. But the impetus for producer Kunle Mwanga, who is presenting him at Fordham as part of a Bronx African-American History Project, goes back even further, to recordings Fielder made in 1983 with a quintet that featured the late pianist Geri Allen (her first recording). Allen’s death last year spurred Fielder to dig out the tapes from those sessions and put them out as Scene From A Dream (NYC 1983) (Clarion Jazz). Mwanga, who had been Allen’s manager, heard the album and invited him to come and give a concert in his series. “The original idea,” Fielder said on the phone from his Altadena, CA home, “was to do the music from the album, but that was me 35 years ago. I’m 62 now and I’ve changed a lot and gotten a lot better since then.” Among those changes is that Fielder no longer plays the alto saxophone (his instrument on the 1983 album) “unless I’m on someone else’s gig and they ask me and are paying me. “Baritone sax is my main axe now,” he says and adds with a laugh “and I’ve got a lot of upset fans about it. On my gigs and band, I play what I want and that’s baritone, although I play tenor on one track on the next album we’re releasing.” Fielder first met Allen in 1978, when they both lived in or around Pittsburgh. He had become disillusioned with the jazz scene and given up on pursuing a musical career and was “making crazy dough as a 23-year-old” working in the steel mills. “I hadn’t picked up a horn in over four months when Jothan Callins, a great composer and trumpet player, begged me to come up to Pittsburgh and hear this incredible young sister he had on piano. He introduced us and said, ‘I want two great musicians to meet each other, for I know you two should be playing with one another!’ Geri’s playing just blew me away, I felt excited about jazz, inspired by the way she played.” Allen asked Fielder if he could join her band at a steady gig she had at a new club. “I leaped at the chance to play with this genius,” he says, “and knew I had some serious shedding to do. But I did make the gig. I also rehearsed with her almost daily and learned all her tunes and have never looked back since. I had quit jazz, but Geri inspired me to go back. But she always said, “I didn’t do nothing except give you a gig!’” Fielder moved to New York City in 1980 and when Allen came east in 1982, she found a large apartment in Brooklyn with two bedrooms and a big studio to put her piano. She invited Fielder to share the place as her roommate and he stayed until the end of 1987. “When I first decided to pursue the music in 1977,” he says, “I thought the first thing you gotta do is get a day job, because I was very specific about what I wanted to do with music, on my own terms.” He did not want to have to play music just to make money, “because everybody I saw who did that was jammed up in some way. I wanted to stay excited about the music I was making and I still am today.” So Fielder pursued a parallel career on Wall Street. He remembers meeting Allen and other young musicians, including Wynton and Branford Marsalis and Greg Osby, after work in Greenwich Village and going out jamming at night. “I was in my business suit and they would tease me, one of them saying ‘I never worked a day gig in my life’, then a few minutes later asking if I could lend him a $20.” But Fielder says his jazz career never really took off until after he landed in Los Angeles in 1988. A trip to San Diego to see alto saxophonist Charles McPherson on a weekend led to a two-year gig there on weekends with McPherson’s drummer son Chuck. Then Fielder began getting known on the L.A. jazz scene and eventually formed his Dale Fielder Quartet, a band that celebrated its 20th anniversary in 2015. The quartet’s secret weapon is pianist Jane Getz, who worked with Stan Getz (no relation) and Charles Mingus in the ‘60s, then had a successful career as a pop producer for RCA, as well recording under the pseudonym Mother Hen, for decades on the West Coast. “I went to a jam session at World Stage in L.A. and ran into this cute little lady with a fur stole who plays like Bud Powell. She wanted to get back to jazz and she joined the quartet in 1995 and is still with us.” “I hadn’t picked up a baritone in 20 years,” says Fielder, “when I was endorsing Jupiter saxes and played a run on one and the rep said I sounded like Pepper Adams. I was into Pepper before I heard Coltrane. I stopped playing bari because I thought I was cloning him too much.” Resilience! (1995-2015) by the Dale Fiedler Quartet (Clarion Jazz), the band’s 18th album, came out in 2016. It features Fielder exclusively on baritone. Gary Carner, Pepper Adams biographer and discographer, calls Fielder “among a group of accomplished American baritone saxophone soloists whose chief influence is Pepper Adams. A hard swinger with a big sound… you can hear his love of the music and his zest for life in his solos.”  For more information, visit Fielder is at Fordham University McGinley Ballroom Oct. 20th. See Calendar. Recommended Listening: • Dale Fielder/Geri Allen—Scene From A Dream (NYC 1983) (Clarion Jazz, 1983) • Dale Fielder—Dear Sir: Tribute to Wayne Shorter (Clarion Jazz, 1995) • Dale Fielder Angel City Quartet—Stellar Moments (Clarion Jazz, 2008) • Dale Fielder Tribute Quintet—Each Time I Think of You: A Tribute to the Donald Byrd/Pepper Adams Quintet (Clarion Jazz, 2011) • Dale Fielder—Dream Dancing (Clarion Jazz, 2014) • Dale Fielder—Resilience! (1995-2015) (Clarion Jazz, 2016)” - George Kanzler

— New York City Jazz Record

Live Jazz: Dale Fielder at Vibrato Grill Jazz…etc. By Tony Gieske Every once in a while you get to hear some straight no rocks saxophone playing, and such was on tap, or perhaps uncorked would be a better term, when Dale Fielder played Vibrato on Friday. Dale Fielder and Pat Senatore He did the whole set on baritone saxophone. So it was fresh sound all the way, not quite velvety, that would be too thick.  Or silken, which would be too thin. Tweedy makes it too hairy. Ramon Banda Song-like,it was. Down around Al Hibbler territory, without the boom. Agility-wise, it reminded you of Harry Carney rather than Gerry Mulligan. The repertoire was almost all nicely proportioned originals, fast moving without being tiresome or hard to follow. A stalwart of the L.A. jazz world, Fielder took you affectionately through the changes, filling them all out with pretty much stone bebop. But never over your head.You got a beginning, a middle and an end. Theo Saunders With Pat Senatore on bass and Ramon Banda at the drums, the soloing kept right on swinging. That attribute would be richly deserved, too, by the pianist Theo Saunders, who’s recorded with Bill Evans, and anybody else who needed a fellow star. His every chorus filled the plate with goodies. He picked up where Fielder left off to breathe and rest in a dark corner. There the gentleman would play along softly as though he couldn’t resist. The guy had something you don’t always see around town: Enthusiasm.” - Tony Gieske

The International Review of Music

  Dale Fielder Quartet BARITONE SUNRIDE CD Review 03/01/2005 Jazz DFQ/Dale Fielder Quartet BARITONE SUNRIDE Clarion Jazz 80412 Reviewed by: Roman St. James For: Jazz Year: 2005 Dale Fielder (baritone saxophone), Jane Getz (piano), Trevor Ware (bass), Thomas White (drums) Tracks: Isaiah's Idea, Patti's Vigil, Jupiter Soul, A Pretty Girl Is Like A Melody, Lover, Carol's Nocturne, Traverse Adverse, Muezzin', End Of A Love Affair, Pepper's Mood Review: There are few too recordings issued these days centered around the robust and sometimes surprisingly sensitive-sounding baritone saxophone. The potentially awkward horn, largest of the commonly-played saxophones, was really never considered a ‘soloing’ instrument until Duke Ellington started featuring the great baritone player Harry Carney in his orchestras in the late 1920s. But it was the emergence of Gerry Mulligan, Pepper Adams and Serge Chaloff in the 1950s, the heyday of the bebop era, that really gave the instrument widespread public notice and showed that, in the right hands, the lumbering instrument could be played just as nimbly as any alto. Still, when one thinks of the great baritone players that have made a name for themselves since the 1950s, the list is short: Nick Brignola (who passed in 2002), Cecil Payne, Ronnie Cuber and Hamiet Bluiett are the only ones that immediately come to mind. Flash forward to the year 2004 and enter Dale Fielder. Fielder grew up in Pittsburgh PA, where he began studying music as a child and learned to play a variety of horns, including oboe, bassoon and tuba, in addition to clarinet and saxophone. He later attended the University of Pittsburgh’s Jazz Studies Program and played locally for a couple of years before eventually moving to New York City in 1980 to spread his wings. He began playing with some of the best musicians the city had to offer and his skill and experience continued to develop. In 1983, he founded his own jazz label, Clarion Jazz (the same label this album is released under), and recorded his first date as a leader, entitled Scene From A Dream. His hard work paid off as he started to gain widespread recognition for his original and daring style. In 1984, he was awarded a National Endowment For The Arts grant, which allowed him to complete his first large ensemble piece, The Aquarian, for alto saxophone and chamber orchestra. In 1988, Fielder relocated to Los Angeles and became a fixture in the city’s local jazz scene, where he was primarily known as an alto and tenor player, even though he also played soprano and baritone. But it was in mid-2004 that he made the decision to play baritone exclusively, and this album, Baritone Sunride, is the fruit of that decision and his first all-baritone recording. A hard-bop outing through and through, listening to Baritone Sunride gives you a rare glimpse of the power and beauty of this large horn when played by a master of Fielder’s talent. This collection of ten tunes (four standards and the remainder Fielder originals), also shows what a great composer he is. No matter how complex the chord changes, how odd the time signatures or how fast the tempos, the melodies are imminently hummable and stay with you long after the last note has faded. He also gives a nod to the influence of the great baritone players that have preceded him by including some of the standards that they often played. “Muezzin’” is a Pepper Adams original and the arrangement of Rogers and Hart’s “Lover” is in line with Pepper’s style of playing up-tempo tunes – with a variety of meter changes and long trades with the drums. “A Pretty Girl Is Like A Melody,” written by Irving Berlin, was a favorite of Nick Brignola and “End Of A Love Affair” was often played by another master of the big horn, Charles Davis. While the influence of these legends are apparent in Fielder’s sound, he has created an approach to the instrument that is entirely his own. His tone is rich and vibrant, his phrasing is sharp and fluid and his solos are well-constructed yet endlessly inventive. His rhythm section, the other three pieces of the Dale Fielder Quartet, are no less talented and are all masters in their own right. Pianist Jane Getz (by the way, no relation to sax legend Stan Getz) and drummer Thomas White are members of the original Dale Fielder Quartet, which played its first gig on New Year’s Day, 1995. Bassist Trevor Ware joined the group in 1999. The benefit of their longtime alliance is obvious. The telepathic-like interaction they maintain is one of the factors that allows this group to rise a notch above in a field that abounds in great groups. If you are a fan of the baritone saxophone, you will absolutely love this album. 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, the explosive creativity and enormous passion displayed on this recording may very well change your mind.  ” - Roman St. James

Dale Fielder Quartet BARITONE SUNRIDE CD Review