{"id":3222,"date":"2008-09-15T13:35:06","date_gmt":"2008-09-15T13:35:06","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&#038;p=3222"},"modified":"2022-11-20T13:36:50","modified_gmt":"2022-11-20T13:36:50","slug":"scott-fields-music-for-the-radio-program-this-american-life","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/scott-fields-music-for-the-radio-program-this-american-life\/","title":{"rendered":"Scott Fields: Music for the radio program THIS AMERICAN LIFE"},"content":{"rendered":"<p>Infotext:<\/p>\n<table border=\"0\" width=\"100%\" rules=\"none\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td class=\"bigcontent2\">\n<div id=\"infotext\">\n<p>Driving back to Chicago for Christmas a decade or so ago, maybe less, David Sedaris, reading his story about taking French class in France, brought me to tears. Listening to David Sedaris read one of his stories is always better than reading one of his stories and if you do read one of his stories it\u2019s best to imagine his voice reading the story. This particular story, in which Sedaris and his classmates in broken French and their teacher in pissed-off French compare assorted ludicrous holiday fables, was the final segment in that week\u2019s\u00a0<i>This American Life<\/i>, the radio program from Chicago\u2019s WBEZ.<\/p>\n<p>This particular story didn\u2019t include background music. It was a live recording of one of Sedaris\u2019 public readings and the show\u2019s producers, or probably the top dog, Ira Glass, Philip Glass\u2019s nephew, left those alone. But there was music under Ira Glass\u2019s voice as he introduced the week\u2019s theme and as he talked before each segment on that week\u2019s theme and during most of the segments themselves. Whoever selects the sundry fragments of music for\u00a0<i>This American Life<\/i>, let\u2019s assume Ira Glass, it\u2019s been said he has his fingers in everything, has a knack for material that is immediately engaging yet transparent enough to ignore when the talking starts.<\/p>\n<p>Some friends of mine who have written music for\u00a0<i>This American Life<\/i>\u00a0have been disturbed by the show\u2019s Cuisinart aesthetic. Doesn\u2019t bother me though. Leonard Bernstein may have had a hissyfit when his precious, dreadful score for<i>\u00a0On the Waterfront<\/i>\u00a0was cut so that Brando could be heard muttering \u201cyea.\u201d Not me.\u00a0<i>This American Life<\/i>\u00a0has its thing and it can be my thing. Here\u2019s the music; butcher it however you like.<\/p>\n<p>The music on this recording is fresh even though for two years and running now the shows themselves have been scraps that the carpetbagger Ira Glass, who now expends his real energy striving for TV stardom, cobbles together from previously aired programs. In a transparent attempt to present old as new, each week he now provides new narration and music to bind scavenged segments.<\/p>\n<p>That\u2019s where this recording comes in. Each of the five pieces is written for a\u00a0<i>This American Life<\/i>\u00a0theme.\u00a0<i>Strange people live next door<\/i>, for example, is in three acts. In act one a teenage girl keeps online diary that she fills with her speculations about other families in the neighborhood. In act two the neighbors are two countries whose residents have for centuries regarded each other with suspicion and distain. And in act three David Sedaris and his boyfriend Hugh become the strange neighbors when they move into their new condominium in Paris.<\/p>\n<p><i>Dogs we thought we knew<\/i>\u00a0includes episodes about real dogs who turn on their masters, men whose are dogs, womanwise, aching feet (my dogs are killing me), and what happens when white teenagers appropriate black expressions. Yo, dawg.<\/p>\n<p>These five pieces\u00a0 provide all of the music an hour-long This American Life show needs, with plenty of leftovers for hash and sandwiches. Each includes repeating motifs that carry through an entire show, variations in texture to match the moods of different segments, melodies for linking segments, subtle grooves that are substrates for narration, musical cues for drama, pathos, comedy, and pain. Although the fate of this music is almost certainly to be sliced, diced, mixed, and fried, it can, and was intended to, stand on its own, intact.<\/p>\n<p>Scott Fields, Cologne, February 2008<\/p>\n<\/div>\n<\/td>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Programm:<\/p>\n<p><b>Music for the radio program THIS AMERICAN LIFE<\/b><\/p>\n<p>[01] 16:18\u00a0<b>Flatfooted flatbroke<\/b><br \/>\n[02] 15:36\u00a0<b>Can he make a W?<br \/>\n<\/b>[03] 13:31\u00a0<b>Strange people live next door<\/b><\/p>\n<p>[04] 16:41\u00a0<b>That and a dime\u2026<\/b><br \/>\n[05] 12:58\u00a0<b>Dogs we thought we knew<\/b><\/p>\n<p><b>total time 75:17<\/b><\/p>\n<p><b><a class=\"arcoma_glossarylink\" href=\"https:\/\/neos-music.com\/output.php?content=Kuenstler\/Fields_Scott.php&amp;treplace=english%2Cgerman\" target=\"_self\" rel=\"noopener\">Scott Fields<\/a><\/b>, electric guitar<br \/>\n<b>Sebastian Gramss<\/b>, contrabass<br \/>\n<b>Jo\u00e3o Lobo<\/b>, percussion<br \/>\n<b>Scott Roller<\/b>, cello<\/p>\n<p>Scott Fields plays a custom CP Thornton Jazz Elite guitar<\/p>\n<p>Recorded 20\/ 21 January 2008, mixed 12 February 2008, at Topaz Studios, Cologne, Germany<br \/>\nRecording, mixing, and mastering engineer: Reinhard Kobialka<\/p>\n<p>All compositions by Scott Fields<\/p>\n<p>Pressestimmen:<\/p>\n<p><b><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/neos-music.com\/images\/news\/ScottFields-STNReview.jpg?ssl=1\" \/><\/b><\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/neos-music.com\/images\/news\/logo_thewire.jpg?ssl=1\" \/><br \/>\n29.09.2009<\/p>\n<p>The bassist here, Sebastian Gramss, featured on Das Mollsche Gesetz\u00bas<br \/>\nCatalogue Of Improvisation, which I reviewed in The Wire 303. DMG\u00bas<br \/>\nimprovisations follow two rules: no piece should last more than 60<br \/>\nseconds, and each should be followed by a pause of the same duration<br \/>\nas the music. In contrast, Scott Fields allows the musicians to<br \/>\nstretch out, and all five tracks last around a quarter-hour. With a<br \/>\nline-up like this (electric guitar, cello, bass, drums), the label<br \/>\n\u00b3chamber jazz\u00b2 always hovers menacingly, but it is not particularly<br \/>\nhelpful as shorthand. Fields and co produce thoughtful music, but not<br \/>\nunduly cerebral, dry or cautious &lt; the improvisations are adventurous,<br \/>\nconstantly engaging and often passionate. The last Fields album I<br \/>\nheard, D\u00e9nouement (Clean Feed) took more than a decade to get a proper<br \/>\nrelease. Fortunately, this very impressive session has taken only a<br \/>\nyear to escape. Incidentally, This American Life is a Chicago Public<br \/>\nRadio show that its producers describe as \u00b3movies for the radio,\u00b2 and<br \/>\nif this CD is anything to go by, it must be addictive listening. &lt;<\/p>\n<p>Barry Witherden<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/neos-music.com\/images\/news\/logo_signal_to_noise.jpg?ssl=1\" \/><br \/>\n09.2009<\/p>\n<p>I&#8217;ve always admired guitarist Scott Fields for his determined<br \/>\noriginality as a player and composer-not to mention his immaculately<br \/>\ndry sense of humor, which makes his website one of the most fun self-<br \/>\npromo sites around. But admiration isn&#8217;t always love, and I&#8217;d be the<br \/>\nfirst to admit that his stuff can be tough going, though when it works<br \/>\n(as with the grinding rigor Of Beckett or the cool minimalism of<br \/>\nChristangelfox) it has the effect of immersing you in a sound-world<br \/>\nyou never knew existed before. He&#8217;s not always been prolific, but<br \/>\nlately he\u00bas been on a tear, with a good half-dozen releases in the<br \/>\npast two years; perhaps his 2003 move from the States to Cologne has<br \/>\nopened up new opportunities for realizing his various projects.<\/p>\n<p>Music for the Radio Program &#8222;This American Life\u00b2 was not, as far as I<br \/>\ncan determine, actually broadcast on the Chicago-based radio show but<br \/>\ninstead offers an audio parallel to its format and various segments<br \/>\n(at least in Fields&#8216; fanciful imagination). If Drawings is<br \/>\nbewilderingly atomized, this disc is by contrast almost too leisurely,<br \/>\nits five tracks all roughly 15 minutes apiece. Brief, melancholy<br \/>\nphrases nudge softly at each other; looping back on themselves over<br \/>\nand over again; the pacing is meditative and lingering, taking its<br \/>\npulse from the intertwining lines of the stringed instruments (in<br \/>\naddition to Fields&#8216; guitar; there\u00bas cellist Scott Roller and bassist<br \/>\nSebastian Gramss) rather than from drummer Jo\u00e3o Lobo. The CD requires,<br \/>\nagain, a certain adjustment of expectation from the listener, a<br \/>\nwillingness to follow the music\u00bas tenuous, fluctuating emotional arcs<br \/>\nacross extremely long durations. Sure, there are climaxes on the last<br \/>\ntwo tracks, &#8222;That and a dimeS\u00b2 and &#8222;Dogs we thought we knew,&#8220; which<br \/>\nhave moments of real violence motion that they start to feel anything but climatic. Patience<br \/>\ndefinitely required, though the disc\u00bas nocturnal beauty draws you in<br \/>\nnonetheless.<\/p>\n<p>All told, this is extraordinary music that sounds like nothing else in<br \/>\nthe avant-jazz world<\/p>\n<p>Nate Dorward<\/p>\n<p><b>J A Z Z W O R D\u00a0 R E V I E W S<\/b><\/p>\n<p>19.08.2009<\/p>\n<p><b>Scott Fields Ensemble<br \/>\nThis American Life<br \/>\nNEOS Music 40806<\/b><\/p>\n<p>Complete with the requisite word \u201cAmerican\u201d in its title, Chicago-born K\u00f6ln-based guitarist Scott Fields offers his vision of Americana on this CD, with themes ostensibly composed to be used by This American Life, a long-running radio program on Chicago\u2019s WBEZ.<\/p>\n<p>Before fearing that Fields has become a Bill Frisell doppelganger, wedded to country and folk-flavored tropes, his sardonic track explanations suggest otherwise. His comments about the show\u2019s \u201ccarpetbagger\u201d host scavenging music to be \u201csliced, diced, mixed, and fried\u201d may prevent these themes from reaching their intended market. More to the point, each of the five tracks operates on multiple levels, with atonal and contrapuntal asides and extensions sneaking out from within the rolling, lyrical narratives.<\/p>\n<p>Additionally, this American Life is played by two expatriate Yanks, one German and one Portuguese. In different combinations the other players have worked with Fields on earlier CDs. Texas-born cellist Scott Roller, who moved to Germany in 1984, usually works with New music ensembles such as Musikfabrik NRW, the Helios String Quartet and Frankfurt\u2019s Ensemble Modern. German bassist Sebastian Gramss plays with saxophonist Frank Gratkowski and in the large James Choice Orchestra, while Jo\u00e3o Lobo, who is himself expatriated in Belgium, skillfully moves between playing jazz and Portuguese popular music.<\/p>\n<p>Intricately connected throughout, most of the pieces evolve from Gramss\u2019 brisk walking slaps and Lobo\u2019s rhythmic rebounds, rolls and energetic drum head popping. Roller\u2019s split tone excursions are so staccato and high-pitched that the resulting sounds often resemble those of a soprano saxophone as much as a string set. Meanwhile Fields plucks, twangs and pulses rarely push the tempo quicker than moderato.<\/p>\n<p>Two instances of where this cohesion works are \u201cCan He Make a W?\u201d and \u201cThat and a Dime\u2026\u201d Taken languidly, the former depends on thick bass thumps and unforced drum drags as spidery guitar runs and cello portamento lead to cohesive trade-offs between the two string players. As the cellist\u2019s tone becomes lighter, the piece climaxes with darker story-telling vamps from Fields.<\/p>\n<p>In contrast \u201cThat and a Dime\u2026\u201d is heartier and heavier with stress provided by string drones. Then as Gramss gently and gradually modulates the underlying pulses, both the guitarist and cellist scrub and slap their strings to produce sharp, sweeping sul ponticello concordance. Later they divide, with Fields\u2019 output feathery and delicate outlined against Roller\u2019s glissandi. As these two unroll rubato pulses, the textures are complemented with walking connection from Gramss and Lobo\u2019s clip-clopping shuffles. A final, speedier variation knits together Lobo\u2019s pops, ruffs and drags, Fields\u2019 buzzing runs and staccato pumps from the arco players.<\/p>\n<p>Droll or not, snatches of these compositions may be unrecognizable if played between stories on This American Life \u2013 if that situation is actually possible. More fruitful for those who appreciate improvised music, would be to listen to this CD and the pieces in complete form.<\/p>\n<p>&#8212; Ken Waxman<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/neos-music.com\/images\/news\/logo_all_my_jazz.jpg?ssl=1\" \/><br \/>\n13.01.2009<\/p>\n<p>Diese CD erschien zwar schon im vergangenen Herbst. Da mir \u00b3This<br \/>\nAmerican Life\u00b2 damals abhanden kam, sie hier im AMM-Forum aber<br \/>\nunbedingt besprochen werden sollte, denn sie ist wirklich erstaunlich,<br \/>\nim folgenden nun ein kleiner Text dar\u00fcber. Der in K\u00f6ln lebende US-<br \/>\nGitarrist ist kein Unbekannter in der Improviser-Scene, nahm Scott<br \/>\nFields doch beispielsweise mit den Protagonisten Hamid Drake, Gerry<br \/>\nHemingway, Joseph Jarman, Myra Melford, Otomo Yoshihide oder Matt<br \/>\nTurner Musik auf. Sein neues Album, ca. Fields 32 Produktion, liefert<br \/>\ndie Musik des in Chicago gesendeten Radioprogramms \u00b3This American<br \/>\nLife.\u00b2 Allerdings kein schlichter Hintergrund-Klangteppich ist hier zu<br \/>\nh\u00f6ren, sondern der ebenb\u00fcrtige Partner neben David Sedaris, dem Autor<br \/>\nund Sprecher der Story (ist auf der CD nicht dabei!). In den f\u00fcnf von<br \/>\nFields komponierten St\u00fccken g\u00f6nnen sich der Gitarrist und seine drei<br \/>\nKollegen Sebastian Gramss (Kontrabass), Jo\u00e3o Lobo (Perkussion) und<br \/>\nScott Roller (Cello) alle Zeit und gelegentlich auch Ruhe der Welt.<br \/>\nOhne jemals in abgehobener Coolness zu erstarren, spielen sie absolut<br \/>\nklar und intensiv ihr sensibles Free-Jazz-Ding. Konsequent und voller<br \/>\nEmotion!!<\/p>\n<p>Olaf Maikopf<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Infotext: Driving back to Chicago for Christmas a decade or so ago, maybe less, David Sedaris, reading his story about taking French class in France, brought me to tears. Listening to David Sedaris read one of his stories is always better than reading one of his stories and if you do read one of his [&hellip;]<\/p>\n","protected":false},"featured_media":3223,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[27],"product_tag":[],"class_list":{"0":"post-3222","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-jazz","7":"pa_artikelnummer-neos-40806","8":"pa_brand-neos-music","9":"pa_ean-764","10":"desktop-align-left","11":"tablet-align-left","12":"mobile-align-left","14":"first","15":"instock","16":"taxable","17":"shipping-taxable","18":"purchasable","19":"product-type-simple"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Scott Fields: Music for the radio program THIS AMERICAN LIFE - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/scott-fields-music-for-the-radio-program-this-american-life\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Scott Fields: Music for the radio program THIS AMERICAN LIFE - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Driving back to Chicago for Christmas a decade or so ago, maybe less, David Sedaris, reading his story about taking French class in France, brought me to tears. 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