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Results 7-8 of 19 articles.
Dec 10 2009
Jazzwise Review - Dec 09.
"Fifield is an outstanding product of the Scottish jazz-folk scene who at one moment can blow a low whistle like Charlie Parker steaming his way through ‘Ko-Ko’ and at the next knock out an air on a sax like a Highland traditionalist. On this, his fourth album as leader, the in-demand multi-instrumentalist also shows himself a master programmer and beats adept."
Dec 08 2009
Folkwords Review .....
'Folk-jazz fusion, rock-influenced, dance driven or ambient-synthesised – try to pin down the fourth solo album from Fraser Fifield and you’re going to have a hard time. Better by far to listen (then listen again and again) if you want to find out what ‘Stereocanto’ is all about. With a lineage that includes Wolfstone and Old Blind Dogs, Fraser has again broken free from what has gone before and cut a distinctive groove.
As usual, Fraser works his magic with highland pipes, low whistle, soprano saxophone, highland hornpipe and chanter but now he’s ventured into wandering through synthesised soundscapes as well. Also working their portion of enchantment on the album are Graeme Stephen (guitars) Alyn Cosker (drums) Mario Caribe (bass) Vicky Fifield (strings) and Peter Tickell (fiddle). If you enjoy listening to talented musicians having a great time this is album is the place to go.
However, it’s the quick observation about listening more than once is important because I have a feeling that too many people will listen once, classify this as mood-music and turn off. Wrong. This album demands attention and if you don’t persevere then you will miss something dramatic and captivating. Beyond the wraith-like sounds that alternately caress and energise your ear is a meld of complex musical expression that requires more than a little concentration.
‘Cabin Fever’ and ‘Snakes Well’ are perfect examples you think you have them and as soon as you do they’re off somewhere else, usually where you don’t expect them to go. The mix includes gentle melodies over written with short sharp phrasing, strutting interplay and insistent argument between instruments augmented by mesmeric synthesised sounds. ‘Miss Anna Marie’ is more gentle and provocative but again the elaborate complexity is obvious the more you hit the ‘repeat’ button. ‘Angels’ enchants - blending folk-fashioned whistle passages with cutting guitar riffs and mellow sax breaks to create an intriguing whole.
There are nine precise measures of vivacity on this album. Seductive passion and driving emotion mingle with boundless energy and inventive improvisation to deliver a work of genius.'
