KEN FIELD - "Eclectic Earwig Reviews featured in Progression Magazine."            

Multiple reviews follow . . .

Eclectic Earwig Reviews

This review ALMOST featured in:
John Collinge's Progression Magazine
KEN FIELD: Pictures Of Motion 1999 (CD, 43:08): sFz Recordings sFz 002 Style: New music/ JIO(jazz in opposition)/Ambient jazz Sound: Composition: Musicianship: Performance: Total rating: 16 (A PERFECT SCORE!!!) Contact info: E-mail: Website: Ken Field has crafted thirteen sonic pictures of pure sax excellence. They range from introspectively dark or airy ambience to peppy, bopping bounces. This is a stroll down neon-lit alleyways of mod jazz hipness. Some pieces are somber, solo, alto saxophone, sometimes layered or effects-altered and others are amplified with drums, acoustic bass, fretless electric bass, drums and percussion. Best references for what is happening here are adventurous works by Dave Binney, Theo Travis, Gallery, Paul McCandless, and mellower Lost Tribe. I should also say Field’s compositional stylings on ambient tracks reminded me a great deal of Mark Isham’s writing for his new age trumpet works, as on Isham’s Vapor Drawings. I admired and enjoyed every minute of this progressive jazz. Field has the fiery Jessica Lurie guesting on alto sax. She is the leading reed lady in the modern fusion jazz trio, Living Daylights. To close, I offer yet more adverbs to corral Field’s music – minimalist, chamber acid-jazz, drunkenly migrating geese being followed by interdimensional hornets offering tracts on transcendental meditation. Dig it! ~ John W. Patterson

KEN FIELD, Katsui Yuji, Kido Natsuki & Shimizu Kazuto, Tokyo In F (74:01) Sublingual Records P.O. Box 391516 Cambridge, MA 02139 E-mail: or Cyberhome: or This free improv record features the American alto saxophonist/flutist/percussionist Ken Field in the company of three Japanese musicians: Katsui Yuji on violin, Kido Natsuki on guitar, and Shimizu Kazuto on piano. There are no "tunes" here. Track 1 is labeled as "First Set," track 2 as "Second Set," and both run almost the same exact length, 37 minutes. The foursome switches freely between atmospheric effects, slow melodic passages, and insistent, hypnotic riffing. There's never any stridency and generally there are plenty of tonal reference points to hang one's hat on. The absence of both bass and drums makes for a rhythmic open-endedness that serves the players well and sets the effort well apart from "jam band"-style noodling. But it's not the kind of album you just throw on. Once it starts, you're either along for the whole ride or you shouldn't bother. ~David R. Adler

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