| Discography of Joe Fonda | 2000 |
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Lineup
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Recorded May 16, 2000, Brooklyn, NY
Released 2002 by Soul Note [121391-2]
4½ stars by Glenn Astarita in a review for Down Beat
Chosen as #8 among Glenn's 10 favorite albums of the year 2003 for bestofneworleans.com.
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CD Reviews
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Conference Call is an inspired group. Period.
Gebhard Ullmann is one the most accomplished reed players on the scene today. Having made over twenty recordings, Ulmman continues to push his own envelope, along the way gaining more fans and admirers. Michael Jefry Stevens is a breath of fresh air on the piano. Thoughful, provocative, and open to ideas, his presence in the group is unmistakable. Following in the tradition of Dave Holland and Charlie Haden, it is hard to find a more focused master of his instrument than Joe Fonda. His ability to transform the bass into an instrument of feeling, and resilience is evidenced throughout. Drumming in this kind of setting requires not only an excellent time keeper but also a skin tapper with imagination. Matt Wilson more than meets this requirement. The quartet plays in the moment, totally in synch with one another, resulting in a recording full of surprises. A blistering number entitled Dreierlei opens this session. With a quick inspired staccato opening featuring the band in unison. A brief lull gives way to a ferocious as well as a driven delivery from Ullmann. He weaves in and out of the melody with ease and conviction. After a driving attack, Fonda settles into a great bass solo, driving Wilson to offbeat rhythms and overall fun. Stevens' march like piano, sets the pace for Final Answer. Always aware of his surroundings, Stevens remains in control throughout. Fonda has always worked well with Stevens, anticipating his every move. Wilson joins in with his own take on things. Ullmann's mastery of the bass clarinet is evidenced throughout. Shades of Dolphy? Great example of unison playing from the group. Gone Too Soon, written by Fonda, is a moving tribute to Thomas Chapin who tragically passed away a few years ago. Chapin was an up and coming sax and flute player who held great potential. Ullmann's playing sounds like every note has a tear. An exemplary practitioner of the ballad, Ullmann pours his heart out. Sensitive accompaniment from Steven's as well as a haunting vocal recanting "Gone Too Soon". A lovely arrangement from Stevens, Liquid Cage is dedicated to clarinetist, Mark Whitecage. Ullmann's rich and flowing sound from his bass clarinet adds a striking dimension. Wilson's cymbal work creates a framework for the expressiveness of the soul. Moving gently throughout, Steven's sparse finger work brings this piece home. Conference Call is one of the most important ensembles on the scene today. Fun, ideas, and free flowing music are the trademarks of this successful unit. Final Answer is just one more example of what this group brings to the table. Copyright© 2003 JazzReview.com®. All Rights Reserved. |
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August 25, 2003 by Frank Rubolino for All About Jazz Synergy is critical to the success of any band, yet Conference Call has developed the art of interaction into a fine science. Gebhard Ullmann, Michael Jefry Stevens, Joe Fonda, and Matt Wilson have been playing together for a number of years, which helps explain why their music congeals unerringly into a solidified whole. Everybody is a star soloist with this band, yet their combined output molds itself into a complete package braided together by group empathy. All four musicians are also composers; the program contains at least two tunes by each. The music rides freely and easily on a crack train capable of veering off at reduced speed to alter the mood swings without interrupting the momentum. For example, things get hopping on Wilson's "Final Answer," yet the band glides easily into a mournful, bluesy mood on "Gone Too Soon," Fonda's dedication piece to Thomas Chapin. The performance provides frequent alterations in tempo, an occasional touch of humor, and a solid sense of unity. Ullmann causes a river of sound to flow through either the soprano saxophone or the bass clarinet. His inspired improvisations are thoughtfully constructed without the need for overt outbursts, yet he cranks the action up several notches frequently in a subtle way before one realizes the fires are burning at higher temperature. The music simply oozes out in a continuous flood of logical phrases. Fonda's ambitious bass playing has contagious characteristics. He not only builds his extensive solos into definitive statements of the art form, he anticipates his next spontaneous expression and mouths the freelance part in accompaniment of himself. Wilson adds flavor and spice on drums. Without being obvious, he provides the impetus through his cushioned contributions to the group context. Stevens pulls the band together with his piano support. He is not a percussive player, yet he demonstrates a take-charge attitude during his solo opportunities as well as when he is directing ensemble action with well-constructed countercurrents. Like a fine watch, Conference Call runs at peak performance throughout the set. The four members come together as a tight unit capable of producing music with looseness and agility. They form a supple group that swings in free time. Reprinted with permission. Copyright © 2006 All About Jazz and Frank Rubolino. All reviews written by Frank Rubolino:
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Dec 13, 2002 by Carina Prange for Jazzdimensions Sucht man nach Jazzmusikern, die gleichermaßen im Berliner wie im New Yorker Szeneumfeld aktiv sind, und begrenzt dies speziell auf den Bereich "Freie Improvisation", dann stößt man ständig auf einen Namen: Gebhard Ullmann. Der Berliner Baßklarinettist und Saxophonist hat sich hier mit New Yorker Musikern, wie dem Schlagzeuger Matt Wilson zusammengefunden, und der auch unter eigener Flagge als "Fonda/Stevens Group" firmierenden Rhythmusgruppe aus Joe Fonda am Bass und Michael Jefry Stevens am Pianio. "Final Answer" will kein philosophisches Postulat aufstellen und auch keinen absoluten Schlußstrich unter eine ungenannte musikalische Frage ziehen. Vielmehr zeigen die vier Musiker, daß sie es verstehen, aufeinander einzugehen und daß freie Improvisation nichts von ihrer Spannungsgeladenheit und Vielfalt verloren hat. Stammen doch die unterschiedlichen Grundkompositionen von allen beteiligten Musikern, reichen die Themen von einer Beinahe-Polka ("Could this be a Polka?") über das aktionsgeladene, fetzige Titelstück "Final Answer" bis hin zum durchaus romantische, lyrische Parts enthaltenden Zehnminüter "Conference Call". Ganz anders wiederum "Gone Too Soon", gewidmet dem im Alter von 40 Jahren verstorbenen Saxophonisten Thomas Chapin - hier handelt es sich um ein langsames, düsteres, aber auch lyrisch-zartes Trauerquartettstück, dem teilweise leise Gesangschoräle hinterlegt wurden. "Final Answer" - versteht man es als Antwort auf die Frage, ob freier Jazz an Aktualität verloren habe: Nein, hat er nicht! Dieser hier jedenfalls ist mehr am Puls der Zeit denn je. Reprinted with permission. Copyright © 2006 Jazzdimensions and Carina Prange. |
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Angelo Leonardi for All About Jazz Italia La cooperazione tra musicisti d'avanguardia statunitensi e tedeschi, sembra essere l'elemento significativo della musica improvvisata degli ultimi sette-otto anni. Non c'? infatti solo il movimento che a Chicago ruota attorno a Peter Brötzmann e Hamid Drake (Ken Vandermark, Kent Kessler, William Parker, Fred Lonberg-Holm eccetera) ma altre convinte collaborazioni producono musica di qualit?, nuova ed eccitante. Il quartetto in questione ? un lampante esempio di questa tendenza. Lo costituiscono il sassofonista e clarinettista berlinese Gebhard Ullmann, il pianista Michael Jefry Stevens, il contrabbassista Joe Fonda e il batterista Matt Wilson. La loro proposta ? una sorprendente sintesi tra la musica improvvisata europea degli anni settanta-ottanta, il post free statunitense e l'avanguardia storica, evidenziando precisi richiami alla musica contemporanea, alla tradizione jazzistica e sottolineature, tutt'altro che occasionali, degli aspetti melodici (e lirici) del prodotto musicale. In questo disco, registrato a New York il 16 maggio 2000, troviamo un percorso vario e fantasioso, che si snoda attraverso nove brani di media lunghezza ad eccezione del multiforme "You're There, I Am Here", lungo quasi tredici minuti e del brevissimo "Final Answer", strutturato su una breve frase ostinata, ritmicamente esuberante e dagli echi latino-americani. Alcuni brani si sviluppano a partire da brevi accenni tematici e lasciano ampio spazio ai lunghi interventi dei solisti (in primo luogo Ullmann, che conferma le alte doti espressive), altri mostrano un disegno pi? elaborato sia nelle direzione di forme astratte che di strutture chiaramente tradizionali. Nell'uno o nell'altro caso l'approccio ? sempre inventivo ed ispirato, trovando un coinvolgente mix tra intimismo e soluzioni espressioniste. I brani migliori, da questo punto di vista, sono "Conference Call", un ricco susseguirsi di tensione e distensione (con un intimo assolo di Jefry Stevens), e "Liquid Cage" (profili cameristici in tensione col clarinetto basso). Pi? caratterizzato liricamente, ma non per questo meno coinvolgente, ? "Gone Too Soon", una ballad composta da Thomas Chapin. Un album che conferma le alte doti del sassofonista tedesco (che attende da anni la considerazione che merita) e dei suoi ottimi partner. Valutazione: * * * * Reprinted with permission. Copyright © 2006 All About Jazz Italia and Angelo Leonardi. |
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Jörg Meilicke for Jazzthetik 04'03 (April 2003), page 80 Wie transatlantische Beziehungen ganz anders gehandhabt werden könnten, dafür ist der Berliner Saxophonist und Klarinettist Gebhard Ullmann beredtes Beispiel. Dass seine amerikanischen ebenso wie seine europäischen Ensembles gleichermaßen sensible und intelligente Originalität zum Ausdruck bringen, liegt gewiss nicht nur in seinem zweiten Wohnsitz in New York begründet. Zu den amerikanischen Konstellationen ist das mit dem Pianisten Michael Jefry Stevens und dem Bassisten Joe Fonda aus der halben Stevens / Fonda Group bestehende Quartett Conference Call zu rechnen, dessen Debut Final Answer nun vorliegt und dessen Name trefflich in die Irre leitet, handelt es sich bei dem Quartett doch nicht um eine fernmündliche Zusammenschaltung für ein Einzelereignis, sondern um eine echte working group. Je nach Verfügbarkeit komplettiert Gebhard Ullmann Conference Call durch den zu Recht hochgelobten Matt Wilson oder durch den Humoristen Han Bennink am Schlagzeug. Transatlantische Demokratie demonstriert sich auf Final Answer ebenso durch die Urheberschaft der Kompositionen wie durch die Vielfalt der stilistischen Einflüsse. Widmungen wie »Gone Too Soon« (für Thomas Chapin) und »Liquid Cage« (für Mark Whitecage) stehen für hochpersönliche Fixpunkte in der Jazzavantgarde; auf Klezmer-Reminiszenzen (»Could This Be a Polka?«) folgen freie Felderkundungen und unerwartet heftig Swingendes, dann wieder die Strenge zeitgenössischer Klassik und, man wird regelrecht davon überrascht, viel Humor. Nichts wäre jedoch all' dies ohne das zwingende, von Geistes- und Wertekongruenz und blindem Vertrauen zeugende Zusammenspiel des Quartetts Conference Call das sogar die mitunter kopflastigen kompositorischen Vorgaben durch zügellose Spielfreude und Freiheitlichkeit mühelos weiterentwickelt. So und nicht anders wünscht man sich die Essenz des Jazz des neuen Jahrtausends, eine bereichernde Synthese aus der uramerikanischen Ausdrucksform Jazz und der Kultiviertheit und Intellektualität der Musiktradition des alten Europas. Reprinted with permission. Copyright © 2006 Jazzthetik and Jörg Meilicke. |
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Thom Jurek for All Music Guide Conference Call is a quartet made up of reed and woodwind master Gebhard Ullmann, bassist Joe Fonda, the criminally under-recorded pianist Michael Jefry Stevens, and drummer Matt Wilson. This date is not a session by a group of musicians who've adopted a moniker, but a full-on working band who rehearses, composes, and plays together as often as it can since each member is a working soloist in his own right. The prime directive here is, not unexpectedly, Ullmann's intense and fluid sense of off-kilter lyricism. His seamless approach to the horn and staggered sense of open harmonics and tonal structuralism are ever-present. What is surprising is his pairing with Stevens on the front line. Stevens is a knotty pianist whose influences are Cecil Taylor, Bill Evans, Andrew Hill, Mccoy Tyner and Horace Silver. His stunning architectural renderings of vast, previously unshaped chords; minor shadings; and furious ostinato are tremendous solo gifts, but in this ensemble, they create a wide and deep floor for not only Ullmann as a soloist, but for the rhythm section as well. What's more, Stevens provides the necessary punch and clamor for the band to swing unencumbered by their considerably complex improvisational style, which is often slipped inside a scored section or bridge. A fine example is "Could This Be a Polka," an effortless series of off-minor piano phrases strung together by the bassline and loped into a melody by Ullmann's gorgeous restraint and willingness to turn the harmony inside out in an even exchange with the impressionistically beautiful melody. Elsewhere, the band's theme, written by Ullmann, features all of the band's intensity and tension in a furiously paced, yet wonderfully rendered melodic architecture of tonal inquiry and multi-scalar invention. But it is Stevens' shimmering balladry on "Liquid Cage" that brings all of the band's influences into play. There is the sense of silence and tension as compositional elements à la Morton Feldman, the notion of tonality itself as a construct of not only sonic dimension, but metaphysical space as well. The idea that rhythm can exist in a melody this intricate and subtle is revolutionary, but Fonda and Wilson carve out a space in inner space and inform and extend the improvisational structures that emanate from the heart of Stevens' gloriously restrained pianism. This is a remarkable record with a surprise at the end that will leave the listener wondering why this band isn't headlining festivals all over the world. Reprinted with permission. Copyright © 2006 All Media Guide, LLC and Thom Jurek. All reviews written by Thom Jurek:
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Sabine Moig for JazzoSphère Gebhard Ullmann (clarinette et sax), Michael Jefry Stevens (piano), Joe Fonda (contrebasse) et Matt Wilson (batterie) : quatre musiciens, associés autour du projet "Conference Call", qui n'en finissent pas de nous éblouir par leur niveau de jeu et par le degré très élevé et emporté de chaque pièce. La clarinette est tonitruante tout en laissant s'exprimer ses compagnons de jeu ; le piano se fait plus feutré mais fourmille d'ingéniosité lorsqu'il vient à s'exprimer seul; la contrebasse soutient l'ensemble de la prestation grâce aux qualités - qu'il semble inutile de rappeler - de Joe Fonda qui nous séduit dans chacun de ses projets ; quant à la batterie, elle s'aventure dans des propos ambitieux tout en confiant une ligne mélodique sans commune mesure à son jeu. Reprinted with permission. Copyright © 2006 JazzoSphère and Sabine Moig. All reviews written by Sabine Moig:
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