“Blue World”, Saxophone Standards Vol. 4, is the fourth entry in Dale Fielder’s Saxophone Standards series, where the focal point is on the exploration of the American jazz standards tradition. It follows “Mood!” Saxophone Standards Vol.3 (2024), “Nocturne Serenity” Vol.2 (2023), and the eponymously titled first volume, “Saxophone Standards Vol. 1,” which was released in 2013.

On January 8, 2025, Dale Fielder lost his home and possessions in the Eaton wildfire that devastated the foothill community of Altadena, CA. Fielder was returning home after performing to a sellout audience with jazz great Marvin “Smitty” Smith to an emergency evacuation order once returning home and only had time to grab his saxophones and a bag of clothes. In addition, Fielder’s studio/office housed his independent jazz label Clarion Jazz whose entire physical inventory was lost in the wildfire. “Blue World” is a direct response to Fielder’s devastating loss. “We lost everything, our house, all our worldly possessions. We were in the midst of a 2 week stay in the shelter at the Pasadena Convention Center when I got a call from trumpeter Nolan Shaheed who owns NoSound Studios where many of us like to record. He said he felt so bad about what happened to Clarion Jazz that he wanted to donate some studio time. That’s how this whole thing happened. Everybody agreed to do it, so I booked three hours, and we were done in 2 hours. All first takes! For me, it was the first major step towards healing personally from such a devastating loss. The great Nolan Shaheed was the catalyst that made “Blue World” happen.“

The release of “Blue World” also coincides with the 30th anniversary of the Dale Fielder Quartet’s first gig on New Year’s Day 1995. The benefit of this long-time alliance is obvious in the relaxed, telepathic-like interaction they maintain which is one of the factors that allows the group to rise a notch above in a field that abounds in great jazz groups. The DFQ is led by Fielder and ex-Charles Mingus Workshop pianist Jane Getz. It is obvious that Fielder and Getz are both dedicated children of the bebop era. They sound and play with a love, reverence, and authenticity that is striking. The entire band including bassist Bill Markus and drummer Thomas White play with an easy swing and a full, “classic” sound that draws the listener in. The DFQ is a band that is perfectly balanced; where everyone listens, and supports each other, while also getting the chance to step out individually.

When asked why the concentration on standards here in the 21st century, Fielder says, “Because of the melody. Melody is my current focal point in music at this time and is the reason why I chose these particular tunes. They each possess strong positive, uplifting melodic lines. Considering what I was personally going through at this time, this was especially important and attractive. I want the listener to be able to relax and enjoy the music and be lifted up and taken away from all the negativity, and deterrent forces, and energies present in early 2025. A respite to be able to forget that stuff for a moment and connect with what’s good about the world, which is Love with a capital “L.” Love is the common theme of all six tunes. They each have lyrics. Two of the tunes have actual verses that sets up the tune. Each tune was part of either a Broadway musical or a musical film and written by the great composers and lyricists; Rogers and Hammerstein, Harold Arlen, Hoagy Carmichael, and who wrote more melodically than the great Antonio Carlos Jobim? I don’t know how I’ve come to be focused on standards recently, but I think this band are perfect interpreters for this type of medium. We concentrated on standards for our last two recordings, as well as our weekly rehearsals which you can follow on my YouTube channel from March 2024 to January 2025 where we did not repeat a single tune! There’s just a wealth of material out there with standards, and I take great pleasure in discovering the most obscure ones and bringing them back to life. Bird also loved standards in this way.”

“Blue World” opens up with the standard, “It’s A Blue World,” written in 1939 by Bob Wright and Chet Forrest, for the 1940 romantic musical film, “Music In My Heart.” Here you can hear the melodic content Fielder speaks of. As the melancholy lyrics speak of a beautiful love lost, Fielder says it adequately expresses his love for his beautiful home that he planned “to spend the rest of my days on earth,” and it is now being lost. John Coltrane recorded probably the best-known version of “If There Is Someone Lovelier Than You,” in 1958. Written in 1932 by Harold Arlen with lyrics from Howard Dietz for the 1934 Broadway show, “Revenge With Music.” Here, Fielder and Getz as a duo play the verse introduction to the song as on Hoagy Carmicheal’s classic ballad, “Stardust.” The 1940 Billboard hit standard, “I’ll Never Smile Again,” written in 1939 for Tommy Dorsey & His Orchestra by Ruth Lowe, was also featured in the 1941 musical “Las Vegas Nights.” Before the final melody at the end, Fielder and Getz get the only chance to perform their standard practice of trading “fours” with each other, beautifully finishing each other’s phrases, in a true musical conversation. “If I Loved You” by Richard Rogers & Oscar Hammerstein III from the 1945 musical “Carousel,” and the popular bossa nova, “How Insensitive” by Antonio Carlos Jobim, round out another fine album by Dale Fielder’s wonderful quartet.

-Reid Schultz

“Mood!, Saxophone Standards Vol. 3,” is the third entry in Dale Fielder’s Saxophone Standards series, where the focal point is on the exploration of the American jazz standards tradition. “Mood!” follows on the heels of “Nocturne Serenity, Saxophone Standards Vol.2,” released just five months earlier in August 2023. Both albums are follow-ups to the eponymously titled first album, “Saxophone Standards Vol. 1.”, which was released in 2013. 

The release of “Mood!” on January 1st, 2024, is also the 29th anniversary of the Dale Fielder Quartet's first gig on New Year's Day 1995.  The benefit of this long-time alliance is obvious in the relaxed, telepathic-like interaction they maintain which is one of the factors that allows the group to rise a notch above in a field that abounds in great jazz groups. The DFQ is led by Fielder and ex-Charles Mingus Workshop pianist Jane Getz.  It is obvious that Fielder and Getz are both dedicated children of the bebop era.  They sound and play with a love, reverence, and authenticity that is striking, almost as if someone from that golden era were still alive and playing.  The entire band including bassist Bill Markus and drummer Thomas White play with an easy swing and a full, “classic” sound that draws the listener in.  The DFQ is a band that is perfectly balanced; where everyone listens, and supports each other, while also getting the chance to step out individually.
 
Fielder, a gifted composer, who primarily features his original compositions throughout most of his 23-album recording career, reflected on releasing two consecutive, back-to-back albums of jazz standards.  “Throughout all our years together, we always included and liked playing standards.  And in doing these two recordings, it felt good to come back to the standards in a bigger, almost exclusive way.  They can still speak to the emotions of today.  Because the pandemic eliminated many of our opportunities for live performances, we’ve been feeling kind of rusty in the fewer times we come together to play. It made sense with the standards, to record on familiar territory that also didn’t require a whole lot of rehearsing, which also kept things fresh and on the edge. These are the albums and tunes our fans have always wanted us to make. Even though we primarily play originals, we always include a standard in each set, usually to start off with.  And I constantly hear requests from our audiences to play more standards not so much for the familiarity, but because of the way we play them as well as our selection of the more obscure ones. I don’t think there’s any reason to be done with playing standards.  The positive response to "Nocturne Serenity" has really illustrated this to me. Where else can you play “Stella By Starlight” every night, the people love it, and we find new things to do with it each time?  It’s a music where you can use structure to liberate improvisation.  There’s no end to the freedom of expression within that idiom.  And for me, music should sound connected with its tradition, invoking a sound and feel that at the same time is both “ancient” as well as "futuristic". Let the ancestors speak through you and the music in the present moments when creating it.” 
 
Since 2002, Fielder, known for primarily playing the baritone saxophone, does not play it on “Mood!” He plays mostly alto sax on four of the seven selections, two on soprano and one on tenor sax.   As he did with “Nocturne Serenity”, Fielder continues to showcase the other members of his quartet, primarily pianist Jane Getz front, and center.  Generous space is also given to the other members of the quartet, Bill Markus on bass and Thomas White on drums.  On every tune except for the opener, “Change Partners” and “It’s You Or No One,” Getz takes the first solo.  The album starts with the rare standard, “Change Partners” written by Irving Berlin for the 1938 film “Carefree.” This tune perfectly illustrates what the DFQ is all about. The band’s effortless swing and interplay are sublime and dramatic. Everyone gets to solo. Of particular note is Fielder and Getz trading “fours” before the final melody, beautifully finishing each other’s phrases and has become something of a DFQ “standard” that their listeners look for.  The band’s treatments of the standards, “End Of A Love Affair,” the extremely rarely heard “Alone Too Long,” as well as “It’s You or No One,” and “Between The Devil and The Deep Blue Sea” are all swinging, evocative, and have that classic sound and feel. Because these recordings were done at the release performance for their CD “Nocturne Serenity,” two tunes from that CD were reprised, Thelonious Monk’s “Eronel,” and Fielder’s original “Mood!” with Fielder displaying his very singular style and approach on soprano sax for both tunes.
 
On “Mood!” – “Saxophone Standards Vol 3,” the Dale Fielder Quartet continues to do what they do best: breathe new life into jazz standards. Truly the best authentic jazz performances happen before a live audience. It is something very difficult to do, recording while you are performing, as there is no safety net. Yet Fielder and Company meet this challenge so well; and the recording quality is so good, that you aren’t even aware that this is a live recording until you hear the applause at each tune’s end! Recommended!
-Reid Schultz

“Nocturne Serenity” is a welcome return for saxophonist/composer Dale Fielder and his Quartet featuring pianist Jane Getz. It is their first recording since 2019’s “Consensus.” The recording is also subtitled “Saxophone Standards Volume 2,” a follow-up to 2013’s eponymously titled “Saxophone Standards Volume 1,” Fielder’s ongoing life-long project of exploring the American jazz standard tradition. Since 2002, Fielder has primarily played the baritone saxophone. Even though he is photographed on the cover holding a baritone sax, he plays no baritone sax on this recording. Here he plays a strong, impassioned tenor sax on four of the seven tunes; soprano and alto on the remaining three tunes. On this CD, Fielder’s intent was to showcase the other members of his quartet that have remained intact now for 28 years. Featured are ex-Mingus pianist Jane Getz front and center along with generous space given to the other members of the quartet, bassist Bill Markus and drummer Thomas White.

Jane Getz launched her career on a seminal recording by Charles Mingus, “Right Now! Live In San Francisco” at the age of 16 and went on to perform with Pony Poindexter, Stan Getz, Herbie Mann, Roland Kirk, Charles Lloyd, and recorded with Pharoah Saunders on his very first album. She became Chick Corea’s first call sub. As promptly as she appeared, Getz disappeared from the jazz scene, ending up in LA as a plus-plus pop producer under the name of Mother Hen producing such artists as the Bee Gees, Don Henley, and Ringo Starr among others. Fielder, credited with returning Getz to the jazz world in 1995, intentionally featured Getz on this recording. Getz takes the first solo on every track with the exception of the opening and closing tunes. Fielder credits Getz as an important element of the Quartet. Says Fielder, “Jane coming into the quartet was the big factor for us both. We complement each other very well; a perfect foil for each other. I attribute this to the fact that we both feel the same way about music and jazz in particular. We both aren’t afraid of being traditionalists in the sense that in the new millennium, this seems to be a bad word. There’s a certain magic that happens when Jane and I play together, and we’ve been smart enough to explore this and let it develop all these years.”

The album starts with the rarely heard Wayne Shorter composition, “Pay As You Go,” as Fielder’s tribute to the passing of Wayne Shorter in 2023. Fielder’s aggressive tenor playing, and full-throated tone is a throwback to his tenor playing on the successful 1996 CD, “Dear Sir: Tribute To Wayne Shorter,” a CD released with the consultation and blessing of Shorter as well as bringing the DFQ to the attention of the national jazz scene at the time.

Fielder, known for performing rare, and obscure jazz standards, continues the tradition with Thelonious Monk’s “Eronel.” Here Jane Getz is featured right out of the box for a full chorus before Fielder comes in with the melody. In her opening chorus, Getz displays her effortless, swinging, and unhurried style that is fully in the Bud Powell continuum. “Eronel” is a typical example of the DFQ’s reverential treatment of standards that one will hear on their gigs. Everyone is involved and after White’s solo, the tune is topped off with a chorus of trades between Fielder and Getz before the final out-chorus. Here one can see the strong sympatico Fielder and Getz share, sounding as if they are the same person on two different instruments. This is what great jazz sounds like!

Getz’s feature continues on the title tune “Nocturne Serenity,” as Getz again solos first and stretches out on Fielder’s tranquil composition. Here, fully displayed is Getz and Fielder’s love of “rhapsodizing” in their improvisations; taking their time in their search for beauty and grandeur in the lines they create.

The rhapsodizing continues with the standards “Embraceable You,” with Fielder on alto sax, and “I Thought About You” on the soprano sax. Everyone stretches out on both tunes. These are the longest of the session clocking in at just over ten minutes each. The highlights are the relaxed, unhurried, chiseled solos by Fielder and Getz. Of note are Getz’s introductions, and Markus’ arco (bowed) bass solos.

The sleeper of the session is the other Fielder composition, “Mood.” The attractive, introspective melody is reflected by Fielder’s soprano sax played in the upper register of the horn. Getz again is featured up front with a dazzling solo. After Fielder’s impassioned soprano solo, Markus provides a fine pizzicato (plucked) solo at the back end before Fielder re-states the haunting melody. “Mood” as well as “Nocturne Serenity” are fine examples of Fielder’s imaginative writing. Fielder’s solo Rollinesque introduction starts out the closer “You Stepped Out Of A Dream,” as the band romps through this classic standard in fine form.

On “Nocturne Serenity” – “Saxophone Standards Vol 2,” the DFQ does what they do best: breathing new life into jazz standards. Truly the best authentic jazz performances happen before a live audience. It is something very difficult to do, recording while you are performing, as there is no safety net. Yet Fielder and company meet this challenge so well; and the recording quality is so good, that you aren’t even aware that this is a live recording until you hear the applause at each tune’s end! Recommended!

Saxophonist Dale Fielder and his soon to be 25-year-old quartet releases his 20th CD, “Consensus”. The band affectionately known as the DFQ has long been recognized as among the most consistently exciting jazz groups on the Los Angeles jazz scene, and the international jazz market through their recordings on Clarion Jazz. Along with exciting vocalist Rita Edmond, “Consensus” combines tradition with the future of jazz. It is also organic, hard-hitting original jazz music that is a result of having the freedom to play without restriction! Atlanta Creative Loafer writer, James Rozzi wrote about Dale Fielder’s concept, “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 or a standard, Fielder plays with a high degree of emotional outpouring yet his lines always manage fruition. 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.”

With this new CD, Fielder and band seem well poised to take things to the next level. Writer Roman St. James writing in the Jazz Review, wrote about Fielder’s “Baritone Sunride,” “The benefit of their long time 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 jazz groups. If you are a fan of the baritone sax, you will absolutely love this album. Fielder’s chops are unequaled. I honestly don’t believe there’s 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.”

The group features 2 main soloists in baritone saxophonist and leader Dale Fielder and pianist Jane Getz. Getz is regarded as one of jazz’s living legends. She left a dream career in NYC working with all of the most prominent jazz artists of her time: Charles Mingus, Stan Getz, Grant Green, Charles Lloyd, Rahsaan Roland Kirk, Elvin Jones, Herbie Mann, and even turned the head and piqued the interest of the legendary Miles Davis;; She left New York to move to Los Angeles as a top producer producing sessions with Ringo Starr, John Lemmon, The Bee Gees among many others. She continues as a producer and owns one of Hollywood’s busiest recording studios. Dale Fielder is one of the anomalies in jazz. Inspired by Thelonious Monk, Fielder has always maintained his preference for leading his own bands and playing his own music. As a result, he has become acknowledged as both an important baritone saxophonist and composer. Known earlier in his career as an alto and tenor saxophonist, in 2003 Fielder changed up and began playing baritone sax exclusively with the DFQ. Fielder feels his most natural voice and individuality comes through on the baritone sax than the other saxes which he still plays when called as a sideman.

The DFQ is rounded out by bassist Bill Markus and drummer Thomas White. Markus and White have quickly become LA jazz legends in their own right as first-call musicians working with a whos-who of major jazz talent in LA. As an added bonus performing with the DFQ since 2014 is vocalist Rita Edmond, a leader and top artist as well. Writer Christopher Loudon in JazzTimes Magazine commented about an Edmond CD, “It’s not often that a vocal album suggests the near-certitude of future greatness, but Rita Edmond is of that rare ilk. Backed by a four-octave range, Rita recalls two of the all-time greats: reflecting the vocal power and majesty of Sarah Vaughan, the impeccable timing and phrasing of Carmen McRae, and the intense, natural musicality of both.”

Official CD Website: www.dfqconsensus.com



“RESILIENCE!” is the DFQ~Dale Fielder Quartet’s 20th Anniversary recording. Night after night for over twenty years, the DFQ have gone quietly about their business; almost workman-like, -just making the gig, yet as serious as your life in focusing only on the music. Seeing this focus and reverence for the music, while having a great time doing it is what their audiences like most about the band. Looking back on the tenth anniversary for the DFQ in 2005, Fielder in an interview for his "Baritone Sunride" CD commented on the band's bond: "The passion and dedication each member of this band has is beyond any words I can say except the word “love”. We really love what we are doing together. It doesn’t happen quite in the same way when we play with anyone else. We naturally create a very ego-less and supportive musical environment for each other every time we play. And because of this, there is a tremendous amount of love, respect, and esteem we hold for each other that has been enjoyed for ten years and hopefully, many more to come". Ten years later on their twentieth anniversary, the band continues to not merely survive, but actually thrive. It is certainly remarkable in how the band continues to grow, evolve their singular way and have created a body of distinctive jazz music. This current offering testifies to the abilities of Fielder's leadership, his courage as a bandleader as well as his commitment and determination in his continued pursuit of the baritone sax as a front-line solo instrument; -not a usual role for the deep-toned horn, usually seen anchoring the sax section in a big band. Also, the CD continues to exhibit Fielder's evolution as a composer. The beauty and strength of the band can be seen in how they play and interpret Fielder's compositions. As a result, the band has their own sound and can immediately set a mood and create a vibe. Also, each individual member is showcased; everyone gets to shine! This is a band in the fullest sense of the word and not a collection of dis-interested individuals just phoning it in. This very special 20th Anniversary CD is aptly entitled RESILIENCE! A testament to the DFQ continuing their course for over twenty years and marking their anniversary with a great recording in the way they do best; -playing live; no tricks, no gimmicks nor a safety net! Music created on the spot, in the moment; -what the art of creating the genuine jazz experience should be all about. Here, we are treated to two CDs chocked-full of consistently urgent, earnest, and honest music.

The band boasts two major soloists in Dale Fielder and pianist Jane Getz. Getz possessing one of the most unique stories in jazz as recorded in her autobiography "Runnin' With The Big Dogs" of leaving high school and traveling to NYC to work and record with jazz immortal, Charles Mingus. Hand-picked by Chick Corea as his 'first call' sub, Getz was one of the most sought-after pianists on the NYC scene during the late 1960s and early 1970s, working on Pharaoh Sanders first recording and performing with Stan Getz, Herbie Mann, Charles Lloyd, Elvin Jones and countless others. Eventually, Getz secured a deal with RCA as a producer and left NYC for Hollywood, bought a house in the Hollywood hills and produced sessions for artists such as Ringo Star, John Lennon, and the Bee Gees as the legendary pop producer "Mother Hen". She continues to work to this day as a sought-after music producer and owns and operates one of Hollywood's most successful mixing studios, Crescent Heights Digital. Finally by the early 90s, Getz had the urge to 'play some real music again", and began going out to play on the LA scene where she crossed paths with Fielder.

Dale Fielder came out of Pittsburgh by way of NYC and became known to the jazz public in the 1990s largely through his own recordings. His 1996 CD, “Dear Sir: Tribute To Wayne Shorter” was a top-ten CD for over three months and was instrumental in bringing him to the attention of the national jazz public. The CD enjoyed the approval and support of Mr. Shorter and was also Jane Getz’s first recording with the band. Known earlier in his career as an alto and tenor saxophonist, Fielder began performing on the baritone sax in 2003. As a devotee of the baritone sax style of the great Pepper Adams, Fielder began performing exclusively on the baritone sax on his own gigs since 2014. He has said that the baritone is a “natural fit for my style of play". When asked to describe his style on the sax, Fielder says, "The basis of my saxophone style is out of "Bird", Charlie Parker. That's the foundation of my style. I came to "Bird" through Jackie McLean, who was my first major influence on alto. I began on alto and primarily played that until the 90's when I added tenor. When you think about it, Jackie McLean's style, especially his sound is a perfect style for the baritone sax. I found that where I had to play a lot of notes to be effective on the other horns, I could be equally as effective with less notes on the baritone. On baritone each note has more "weight" if you will, caused by the lower register of the horn, more metal etc. Imagine that tart-sweet tone of McLean that was kind of a tenor sound on alto; imagine THAT on baritone! I see myself as a more emotional player than an intellectual one. I rely more on intuition and instinct than technique. Going for the emotional essence of the music makes me more into sound and tonal centers; more primal and primitive levels I think. My first major influences on the sax were three: Jackie McLean as mentioned, then Sonny Rollins and then Pepper Adams. I was into these guys early before I got into Trane and of course, lost my mind! (laughs) As my records show, when I picked back up with the baritone in 2003, the Pepper influence was pervasive. Up until about 2011, I loved his playing so much I finally began to worry about becoming a clone. Luckily, I pulled a tendon in my arm and was physically unable to play baritone for over a year from 2013 through 2014 and went back to the other saxes. So when I went back to the baritone in 2014, I’ve since been working to expand beyond the Pepper Adams influence, incorporating others like Trane, Dexter, Wayne, and Joe Henderson. I feel that with RESILIENCE!, I have finally pushed past the Pepper influence on baritone and starting to become my own man on the horn.” What’s really unique is that Fielder has also brought the baritone sax front line in a contemporary setting that is unusual these days. Here Fielder places the baritone in settings that are not normal. Right out of the box with the tune “Days and Nights With You", is a baritone sax/vocal duet! Who else does that?

The other members of the DFQ are equally unique players in their own right. Bill Markus, one of the busiest bassists in Los Angeles “possesses two unique solo styles”, says Fielder. “A unique double-stop pizzicato style and a jazz arco style unlike any other bassist in jazz. Plus he is unbeatable on fast tempos. As the night gets longer, Bill gets stronger!” Percussionist Thomas White is a product of the New England Conservatory where he studied under the legendary George Russell. His unique style of combining power and intensity without a lot of volume makes him a favorite for piano trios. Fielder likes “that he is a drummer who plays and extemporizes instead of merely keeping time. Yet his sense of time is impeccable. This is why we call him ‘Mr. Taste’!”

The music on this CD was recorded in front of a live audience at Alvas Showroom in San Pedro, CA by Grammy award-winning engineer Bob Tucker. Tucker is also the head engineer and partner with Jane Getz at Crescent Heights Digital. His work here speaks for itself, captured and recorded so well that you are only aware it is a live recording at each tune's end when you hear the audience applaud! Fielder says that Alvas is “one of the most acoustically perfect rooms in the country today!” He recorded his 2007 CD "Plays the Music of Pepper Adams" there at Alvas. For the exception of George Cables’ “Think On Me”, all the music recorded that night are Dale Fielder originals. Fielder says, “These are the tunes we’ve been playing on gigs through-out 2014-2015” except for “Days and Nights With You” and “Aquarian Aspirations”, which are the newest and were written just before the session. “Days and Nights With You” features the exceptionally talented vocalist Rita Edmond, who has been performing with the band since 2014 whenever a vocalist is required. The tune definitely illustrates her simpatico with the band. We are treated to two completely different versions of the tune, Take-1 opening the CD and Take-2 closing it. A truly exotic tune with lush chord changes, written as a tone poem for Fielder's wife, it demonstrates his ideas about composition. “I’m of the Lester Young school of thought in jazz; the attraction to beauty in music. There’s the desire to convey the sense of the exotic or ecstatic and trance states in music. It’s a direct path to the soul and the eternity of life itself.” He spoke on this early in his career in 1995 for Musician magazine where he said back then, “It is a mistaken assumption that musicians merely reflect the times they live in. We have the responsibility to assist in molding the characteristics of the future. So my music cannot help but to align with the positive qualities of our world. It addresses the magnificence of the human experience. I am learning how to adjust the composition of melody, rhythm, harmony, and lyrics to affect people’s consciousness in a positive and beneficial way, whether they are aware of it or not. It's about really learning how to be a healer." Isn't that what jazz is all about? Using the music to feel good about life in spite of its challenges.

“Aquarian Aspirations”, an intriguing composition that is primarily in 3/4 time with 1 bar of 5/4, was written for his elder brother and mentor, the late tenor saxophonist Guy Fielder, who transitioned in November of 2015. “He is the reason why I’m playing this music" says Fielder. "Every note I play from now on is for him, for I am his legacy.” This is Fielder's most engaging solo on the CD and is at the heart of what Fielder is accomplishing with the baritone sax. This solo yields dividends upon repeated listening. Next, we are treated to an extended 11 plus minute version of “The Quickening” [A Divine Moment]” which first appeared on Fielder’s “Stellar Moments” CD back in 2009 where Fielder played it on alto sax. This is much how the band stretches out and sounds when performing live. In turn, “Romance Serenade” first appeared on Fielder’s CD of the same name back in 2000, another top-ten CD at the time. That version was an instrumental version where Fielder played it on soprano sax. However lyrics were written for it and here, we get to hear it for the first time in a fine vocal outing by Rita Edmond. The title tune “Resilience!” features Jane Getz and the cross-stick quarter note rhythm that is prominent in Fielder’s writing these days. He says, “I like it because while making the music sound more contemporary to today’s audience, it also establishes a timekeeping dynamic that one can solo over in a traditional way like Bird very easily”. “Easy Does It” and “Patience’s Patience” displays the more straight-ahead post-bop style the band is known for. Of particular note is Thomas White’s brushwork throughout on “Patience’s Patience", as well as solos on "Think Of Me" and "The Quickening" with full band accompaniment.

Disc II starts out with Fielder’s ‘mini-suite’ “Perceptions”. Fielder has written and performed several extended works over the years. Many were commissioned. Two have been recorded on CD: “Ocean of Love and Mercy” (1997) and “Suite: Clarity” (2004). His last, "Light And Shadow" (2007) was a commission from Lenoir-Rhyne College in North Carolina. "When I was about 9 years old, I fell in love with the music of Duke Ellington, mesmerized by his "Reminiscing In Tempo", says Fielder. "It made a profound impression on me as well as inspiring the desire to compose longer forms. “Perceptions” has turned out to be a work in progress; there's already a part four written for it. I'm really happy for the opportunity to get it in".

“Perceptions I: [Shifting Focus] is an up-tempo straight-ahead swinger with solos by all four members. Fielder and Getz's authoritative bebop roots, as well as a strong-point of the entire band; are in full display here. Immediately beginning afterward is "Bass Prelude I" by Bill Markus, who is featured in the first of two bass preludes. “Bass Prelude I” is performed acro (with the bow) in an almost classical style. The bass-line leads of “Perceptions II: [Elation]” starts the second movement. [Elation] is a case in point of Fielder’s intent to convey the sense of the exotic and trance states in music. Also of note is how both Fielder and Getz are so un-hurried during their solos, taking their time to caress each note. Next up is “Bass Prelude II” and this time is performed pizzicato (plucked) by Markus and makes the transition into “Perceptions III: [Radiance]”. [Radiance] is a wonderful Latin Hybrid composition; first Getz and then Fielder lay down expressive solos. After listening, Fielder comment on seeing the Wayne Shorter influence in his writing. And indeed the tune seems like something Wayne Shorter would have written back in an earlier period. At the end of the night, the band decided to have another go at "Days and Nights With You" and we are treated to an alternate take of the tune, as indeed, there were no thow-aways that evening.

“RESILIENCE!” is a splendid 20th Anniversary recording that stands up well to repeated listening. One can only hope this recording will go a long way in helping the band be heard more broadly. Congratulations to DFQ~Dale Fielder Quartet for staying the course for over 20 years; and in that one fact, they have accomplished what few jazz bands in the new millennium have been able to enjoy. They truly do possess, - RESILIENCE!

-Reid Schultz