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TheArtsDesk.com <br/> by Peter Quinn

TheArtsDesk.com
by Peter Quinn

With slowly chiming piano chords, an impossibly high sustained note on the accordion, and a melody of the utmost loveliness on alto clarinet, the achingly beautiful “Walking by Flashpoint”, the opening track of The Thompson Fields, welcomes you into a sound-world of rare eloquence.

Presenting eight new pieces written by the composer, arranger and bandleader Maria Schneider for her renowned 18-piece jazz orchestra, the ensemble's first outing since the superb Sky Blue (2007), the album celebrates its composer's love of her childhood home in southwest Minnesota. Entirely funded by Schneider's ArtistShare fan base, the CD package – with its maps, photos and illustrations  is a work of art in itself.

In some alchemical way, the orchestra appears to feel pulse, phrasing, dynamics and texture as if it is one living, breathing organism. As well as the impressive ensemble work, this is a band of stellar soloists too, as evidenced by trombonist Marshall Gilkes and flugel player Greg Gisbert in “The Monarch and the Milkweed”. With more transfixing solos from Donny McCaslin on tenor and Scott Robinson on bari sax, “Arbiters of Evolution” highlights that, in full flow, nobody does "ecstatic" quite like this band.

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Press quotes

“Data Lords” . . .  is her magnum opus, a riveting, remarkably intense double album, as profound as modern-day instrumental music gets. Link to article

- MINNEAPOLIS STAR TRIBUNE – Jon Bream

Now it's finally here, in the form of a magnificent double album, Data Lords . . .  it parses into thematic halves, "The Digital World" and, as an antidote, "The Natural World." On the whole and in the details, it amounts to the most daring work of Schneider's career, which sets the bar imposingly high. This is music of extravagant mastery, and it comes imbued with a spirit of risk. Link to article

- NPR.com – Nate Chinen

“The Digital World” emerges as her manifesto against everything that limits the expressive range of the human spirit. “The Natural World” becomes a summarizing afterword in Schneider’s musical autobiography that illustrates the natural forces that keep her creative compass pointing true north. Link to article

- The Arts Fuse –– Allen Michie

Data Lords: Schneider’s craft and judgment are such that music in the eerie, dystopian world has the marvellous feeling for structure, pacing and often sheer beauty that listeners who know Schneider’s music will be expecting. . . .

There are instrumental glories throughout this album, but the work of the low brass both as section and as individuals is quite unbelievable and is caught exceptionally well on the recording. Whereas Wagner once said “don’t look at the trombones, it only encourages them", I had the sense that Maria Schneider must keep looking at the trombones a lot. And they certainly deliver here. Link to article

- TheArtsDesk.com – Sebastian Scotney

With Data Lords – a steeliness and even bleakness now shares a stage with her familiar pastoral side. . . . The inner tensions behind this compelling session promise a revealing new phase in Schneider's remarkable work. Link to article

- THE GUARDIAN – John Fordham

Beyond the dualism in its format, Data Lords is a work of holistic creativity. The music of outrage and critique in the first album has all the emotion and conceptual integrity that the music of melancholy and reverence does in the second. I can’t conceive of anyone else creating this music, unless Delius has been writing with Bowie on the other side. Link to article

- THE NATION – David Hajdu

Data Lords: Disc One offers highly imaginative, revelatory, at times breathtaking music as in the title track. . . . Expect this project, at a minimum, to be a Grammy contender with perhaps historic recognition in the wings at some point. Link to article

- GLIDE MAGAZINE – Jim Hynes

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The Thompson Fields:  “... this magnificent, nature-drunk masterpiece, one of the great jazz records period, not just one of the great recent jazz records.”

- THE BUFFALO NEWS – Jeff Simon

Maria Schneider wanted to send a strong message about the threat of a mass manipulation of humanity with Data Lords. Through her high standard for meticulous composing and arranging, delivered by some of jazz’s best musicians, she gets the message across in perhaps the grandest way possible.

- SomethingElseReviews.com – S. Victor Aaron

The Thompson Fields: ***** "...there is nobody more capable of harnessing emotions in music and projecting and preserving the beauty and power of the natural world in sound than Maria Schneider. She's demonstrated that time and again, and she does it once more on this awe-inspiring release."

- ALL ABOUT JAZZ – Dan Bilawsky

The Thompson Fields:  "This marriage of sounds, words and images is ultimately breathtaking, a testament not simply to the hipness of jazz but to the uplifting and sustaining powers of art."

- OTTAWA CITIZEN – Peter Hum

"The Thompson Fields breaks through to a new level. It's her most ambitious recording, and her most accomplished; it places her in the pantheon of big-band composer-leaders, just below Ellington, Strayhorn, and Gil Evans at his very best; it's a masterpiece"

- STEREOPHILE – Fred Kaplan

The Thompson Fields ***** (five stars)  "Her latest album, some 10 years in the making, shows just what a supple and powerful instrument a jazz orchestra can be."

- THE TELEGRAPH – Ivan Hewett

The Thompson Fields: ***** (five stars) "...a sound-world of rare eloquence ... the singularly most beautiful record I've heard this year."

- TheArtsDesk.com – Peter Quinn

"Maria Schneider is a national treasure."

- NPR