| Discography of Joe Fonda | c1998 |
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Lineup
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All compositions by Kevin Norton except indicated otherwise
Recorded c1998.
Released on April 20, 1999 by Music & Arts [CD-1033]
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CD Reviews
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By Richard Cochrane for Musings Kevin Norton: For Guy Debord (in Nine Events) Kevin Norton: Knots Norton is a percussionist linked with the increasingly fertile Tri-Centric organisation headed up, of course, by the great Anthony Braxton, who appears on the first of these discs. He's an accomplished player, but perhaps even more important are his compositional skills, which he shows off to the full here, and especially on the disc with Braxton. "For Guy Debord (in Nine Events)" is a typically grandiose title for a jazz suite, if that's what it is. It's certainly what it sounds like, and its construction — basically a set of ensemble passages and a mixture of scoring and improvisation — only reinforces the impression. The music takes on various shades through its thirty-five minutes, but it's not pointlessly orchestral; indeed, Norton appears to have chosen a fairly conventional grouping so as to concentrate on the notes rather than the colouration. The results are impressive indeed, and the music has no trouble at all holding the attention. Braxton isn't particularly featured; it's an ensemble record within which solos occasionally crop up, and it has to be said that one at least of the other reed players is so much in the older man's shadow that it's hard to be sure who's playing what. This is fine, because it's not a record about personalities. The personality which comes across most stringly is the composer's and, a close second, Norton's vibes, which make the opening reminiscent of (no faint praise, this) "Out To Lunch". Having mentioned the length of the piece, it's worth pointing out that there's no extra padding to make this CD twice as ong as it needs to be. This is a good thing; there are far too many over-long albums out there, and "For Guy Debord" stands perfectly well on its own merits. One tiny grumble: it would have been easy enough to index the nine "events", which might have made the disc slightly more accessible, but never mind. The band is tight and hugely inventive, so it's good to see they didn't just form for this piece; "Knots" finds them (sans Brax, of course) tearing up eleven charts by Norton and two old Monk favourites in extremely pleasing fashion. Norton's compositions are sometimes perverse, deliberately surprising things which everyone clearly enjoys playing. Heads can be lengthy and multi-segmented, re-emerging at odd moments, as is the way with contemporary (and particularly post-Braxton) jazz composition. It has to be said that there's nothing astonishingly new here, but what there is is an extraordinary quintet playing unusual and often beautiful music. Ulrich is, as usual, a huge asset, and the front line are a powerful and precise set of lungs. The excellent Krakauer plays on just three tracks, but with fire in his belly; one wishes for more after he's gone, but the quality of what follows doesn't disappoint. Reprinted with permission. Copyright © 2006 Richard Cochrane. All reviews written by Richard Cochrane: |
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1998 by Lee Prosser for JazzReview "Where is the Charles Mingus of today?" — cries a voice from the wilderness. "You know, a composer/bandleader that inspires the players, pushes the envelope, can be cerebral yet swinging?" Rest easy — this Norton chap is definitely a contender. He writes well-thought, gently twisted and challenging compositions (not just blowing vehicles) that do not forsake swing, lyricism or rhythm — recalling somewhat early-'60s Dolphy-era Mingus. There's plenty of tight ensemble playing that leaves room for free yet concise solos. Highlights are Ulrich's melancholy cello, DeBellis' alto playing (he has some of the "cry" of primo Jackie McLean) and the killer Klezmer clarinet of Krakauer, who guests on the contemporary-classically-tinged "Three Movements for Solo and Ensemble". Somewhere, Chas. M. is sitting there, stroking his beard, smiling slightly and thinking, "not bad." Reprinted with permission. Copyright © 1998 JazzReview and Lee Prosser. |
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Heather Phares for All Music Guide Kevin Norton's 1999 album, Knots, marks his debut as a band leader, playing his own compositions as well as those of Thelonious Monk. Like Monk, Norton's playing and composition emphasizes rhythm, but the clean, spare lines of his playing and his improvisational skills have their own distinctive flair. Songs like the title track and "3 Movements" are open to many interpretations and offer new aspects each time they are heard. Reprinted with permission. Copyright © 2006 All Media Guide, LLC and Heather Phares. |
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Bruce Lee Gallanter for Downtown Music Gallery A most impressive first effort for this quintet. Kevin Norton is one of our finest percussionists and composers, continually popping up in demanding situations, from Fred Frith's Keep the Dog to various recent Anthony Braxton projects. He has a fine trio cd on CIMP with Curlew's George Cartwright, but this his second date as a leader is superb for all of it's 72 minute journey. His ensemble features David Bindman (smoking trio cd w/ drummer Ehran Elisha on CIMP) and Bob DeBellis (various Phillip Johnston releases) on saxes & clarinets, Tomas Ulrich (Walter Thompson Big Band) on cello and the ever-solid & propulsive Joe Fonda (also various Braxton units) on acoustic bass. Kevin has done an outstanding job of arranging all and composing all but two of these pieces. The two non-originals are both Monk tunes-refreshingly different takes on "Epistrophy" and "Brilliant Corners"! This quintet often remind me of Eric Dolphy's "Out to Lunch" unit masterwork-with Tony Williams & Richard Davis-like finesse. Both Kevin & Joe Fonda constantly spin tight webs around the robust harmonies of tenor & alto sax, clarinet & bass clarinet and cello. This music moves from suspenseful to quick-witted, somewhere between modern acoustic jazz and contemporary classical streams. One of the delights of this release is "Three Movements for Solo and Ensemble" which features guest clarinet hero-Dave Krakauer. As always, Krakauer wails throughout magnificently while both saxes play as one force due to Norton's fine composing. Excellent, well conceived & challenging! Reprinted with permission. Copyright © 2006 Downtown Music Gallery and Bruce Lee Gallanter. All reviews written by Bruce Lee Gallanter:
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