Rush Mode

Since the release of his first album Ashes in 2011, brilliant jazz man Mike Field has been on the move gigging from one big city to the next - travelling as far afield as Germany, France, New Zealand and even on board a ship to Antarctica - but mainly shuttling between Los Angeles and Toronto, all the while composing a continuous stream of new material. Field continues the whirlwind of activity with his latest CD RUSH MODE - an eclectic collection of jazz tunes ranging from classic bebop to Latin-flavoured romps. The through line is as the title suggests, a portrait of the way we live our busy lives, though Field's take is definitely more on the positive side. As with his last album, Field likes to keep it upbeat on Rush Mode. The band does it all here and they do it all really well. The songs are driven mainly by Field's playful, virtuoso trumpet and the superb artistry of saxman Paul Metcalfe; the pair play on these recordings as if they're brothers from another mother. The short, snappy, bouncy tunes keep the sense of excitement and energy throughout, save for the hauntingly beautiful ballad The Last of the Summer Days featuring the exquisite, smoky vocals of musical guest Sophia Perlman. Among the highlights are the title track, where sprightly flamenco flourishes (by special guest Kevin Lalibert on guitar), meet classic bop horns; Play for You, a vintage, dirty-thirties-style tune, grounded by a tango beat with seamlessly interwoven play between Metcalfe's sax and Field's alternately growling and soaring trumpet; and the aptly-named Balkan Swing, an Eastern European snake-charmer that features florid piano riffs and showcases Field's penchant for world music rhythms and melodies. In addition to Field and Metcalfe, the Mike Field Jazz Quintet includes exceptional players Carlie Howell on upright bass, Dave Chan on drums, Teri Parker on piano with special guest musicians Rosendo 'Chendy' Len on percussion and Mark Eisenman on Fender rhodes and piano. Produced by Shelly Berger, the nine-track album was recorded at Canterbury Music Company in Toronto between June 2012 and May 2013, engineered by Jeremy Darby and mixed by Andrew Mullin.