Dale Fielder Angel City Quartet - dalefielder

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Dale Fielder Stellar Moments Interview (Excerpt)

Lezlee Colrane: Could you talk about your new group Angel City Quartet?

 

Dale Fielder: Yeah. Circumstances came about where we all found ourselves on a series of gigs at the Marina City Club in Marina del Rey, CA that started around the 4^th of July 2008. I believe Jane Getz had a big money country & western gig in with her husband Bob Tucker. Edwin Livingston was off touring with Queen Latifah. I looked up one morning and saw my man on the Today show playing bass with her! (Laughs) The other bassist I always call, Trevor Ware, was out touring with Azar Lawrence somewhere, I believe. The fact they weren’t available for the first time in a very long time afforded me the opportunity to call on Greg Gordon Smith and my old buddy . The results from the first tune on was just magic. I kind of expected it would, because of Greg. Earlier in May, Greg and I recorded in a live performance as a duo together that was just off the hook. So I was really feeling his playing. Where Jane and I are very similar in our playing, Greg is younger and comes from a whole different perspective. He works a lot with film composer Patrick Williams and brings that kind of broad composer’s sensibility to his playing. He’s not a bebopper like Jane and I are and this contrasts in a certain way with me. Unlike a bebopper, he leaves a lot of space open in the music. You can feel he’s always thinking and looking for something different to play and if he doesn’t hear it, he plays nothing at all. Me being a bebopper, I can fill up all that space. It makes me go in a different direction improvisationally. The Duo recording we did together showed this to me. It was a totally gratifying experience and I’m glad we got it down on tape. Bill is just a monster bassist. Big sound, strong and great endurance. He gets stronger and stronger as the night wears on. He knows his instrument and the various jazz traditions. He is a quoter and puts a lot of humor in his playing. He is known for his unique arco (bowed) solo style. He is also one of my closest friends. Thomas is one of the unsung great drummers in jazz. In an age before the drum machine, he would have been lauded as one of the greats. We call him ‘Mr. Taste’ and I have been playing with him for so long, I don’t know what I’d do without him on drums. He knows me better than any other player period. He anticipates my licks and interprets my compositions so perfectly because he understands and feels my musical sensitivities so well. Now, he does this for every other band leader he has played with! Pianists love him as he plays so perfect for the piano trio. Thomas knows how to create great intensity without a lot of volume. A technician with heart and soul. To me, he is a cross between Jack DeJohnette, Roy Haynes and Elvin Jones. A great drummer and an even greater human being.

 

LC: Dale, how do you keep yourself motivated? In an era where jazz is so obviously marginalized, how do you stay up and keep the creative juices flowing?

 

DF: Well, if you are an artist in the truest sense of the word, you can’t help but be self-sustaining. I can’t tell you how many times I’ve announced: “I’ve quit music!”, bummed out by the absurdity of my situation in the music industry. To feel that you have so much to give musically, but can’t. To have worked so hard to attain this level of musical talent, yet have to support yourself with a day job while ones are paid millions with much less is absolutely heart-breaking and very frustrating. But somehow, after the emotions calm down, and once again you look around and see the beauty of the world and the universe that surrounds us, I can’t help but be so moved that I have to express this beauty in sound and vibration as only I know how to do. To create and bring this kind of beauty and goodness into the world through sound and vibration, ---music, to me has to be one of the greatest callings possible in life.

DFQ @ Catalinas.wmv