Jazz Review : An Ace Homecoming for Saxman Brandon Fields

As far as recordings go, saxophonist Brandon Fields has beenmostly missing in action over the past couple years. The strength of his first set Saturday at Randell’s made that circumstance seem almost criminal.

Fields, who received much of his musical education growing up in Fountain Valley, is one of the more interesting contemporary saxophonists on the scene. Sure, he likes big, accessible beats, but he also knows how to make something of them, giving those even-handed rhythms the kind of twists and turns that belie the shallowness associated with pop-jazz.

Never one to utilize cheap, emotional appeals, Fields brings a sincerity to his performance missing from such horn men as Dave Koz, Richard Elliot or pop instrumentalist Kenny G. His playing, however, still generates the same kind of excitement as these musicians.

For the return to his childhood stomping grounds (Fields was last seen in Orange County with Earth, Wind & Fire vocalist Philip Bailey this past summer at the Hyatt Newporter), the saxophonist brought in a top-notch backup quartet that featured trumpeter, organist and long-time associate Walt Fowler. This double-brass lineup brought immediacy to the themes and a weighty, harmonic depth that was a sure attention grabber.

Fields’ “Guilt by Association” put the horns to good use early. The tenor-trumpet blend gave the funk-jazz number the feel of ‘60s-era Art Blakey and his Jazz Messengers. Fields wasted no time establishing his personality, working with the kind of probing lines and hearty caterwauling that fellow sax man Joe Henderson would admire. With Fields’ playing matched in intensity by Fowler’s agile trumpeting, the tune set a high standard early in the set.

That standard was maintained as Fields moved through a variety of original material. The tenor-fluegelhorn blend of “Part Human” gave warmth to the samba-paced, slightly sinister minor-key theme. The ballad “Gina” was built on a simple bass line while featuring Fields’ quirky alto solo that contained plenty of squeaks, catcalls and sinewy lines.

Despite the fact Fields plays with wide-ranging sense of tone, he never allows his squeals or guttural displays to dominate the work. Often such techniques were deftly understated, a ploy that gave them even more impact. And when it came time to wail, you could feel the emotion behind the dynamic display.

While new tunes from a forthcoming album were the most impressive, older numbers were given new life with the saxophonist’s fine variations.

A call for “Bull Funk” from Fields’ first CD gave him a chance to shout and sing the blues on alto. The tune developed some of the moodiness that Miles Davis brought to his electric work, with Fowler’s organ accompaniment taking on some of the kinky character of Davis’ own keyboard embellishments. The tune’s hard-blown bridge--featuring only trumpet, sax and drums--made for the kind of passage that sends electricity coursing up one’s spine.

Guitarist Steve Cardenas offered thoughtful contrast to Fields’ more dynamic improvisations, playing each note as if to make it stand alone. His chordal accompaniment thickened the already detailed mix and his unison play with Fields’ lead on “Brain Dance” brought an electric edge to the stimulating number.

With Tom Warrington’s astute bass and drummer Dick Weller mixing it up with both on- and off-beat percussion, the set was one of the best heard in this room in some time. More contemporary artists should follow Fields’ lead, rather than constantly looking for ways to generate commercial interest.

His melding of traditional jazz sensibilities with contemporary forms is just the kind of music today’s fans tired of the pop market will embrace.

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So why has it been so long between albums for Fields, possibly one of Southern California’s most popular saxmen? The answer, as the saxophonist explained in an interview between sets at Randell’s, has to do with his previous record company.

Fields’ four albums for the now-defunct Nova label were among that company’s most successful. But when that company went under in 1993, Fields, whose last release for them came in 1991, was left without a label. It took awhile to find one.

“I was the only musician from the label to show up at the bankruptcy hearing and try to buy the rights to my albums back,” he explained. “But I wasn’t successful (Sin-Drome Records of North Hollywood purchased the entire Nova catalogue). If they’re being distributed now, I don’t know about it.”

But things are looking up.

Fields has been signed by Positive Records and will cut a new recording for the label early next year.

“It’ll have Walt (Fowler) and Steve Cardenas on it. I’m really looking forward to doing it. It’s been a long time.”

It’s not that Fields hasn’t been busy. He appears occasionally as a leader in Los Angeles area clubs and is often called to do session work for other musicians. He’s featured on the recent release from the German-based Basement Productions release from Back Street, “What We Like,” and is seen regularly at North Hollywood’s Baked Potato playing with the group dubbed “The Anonymous All Stars.”

Fields, who attended high school in Santa Ana and studied music at Cal State Fullerton and with band leader Charles (Doc) Rutherford at Orange Coast College, spent a few weeks this summer touring with Earth, Wind & Fire (in addition to the tour with Bailey). But he’s most anxious to get his own career firing on all cylinders again.

“It’s really difficult these days with the way radio station formats work,” he said. “We’ve lost stations that play our kind of music and without that exposure, it’s really hard to get noticed. And the clubs just aren’t as popular as they used to be.”

But based on the strength of the new material aired at Randell’s on Saturday, 1995 could be the year Fields--the one-time Rippingtons and Tower of Power saxophonist--generates his own exposure.