| Discography of Joe Fonda | 2001 |
 |
Lineup
|
Recorded by Gerhard Gruber on March 7, 2001 live at the Unterfahrt, Munich, Germany
Cover Design: Gebhard Ullmann
Produced by Gebhard Ullmann, Joe Kienemann, Monika Schweichler for Bayerischer Rundfunk and Leo Feigin
Released 2003 by Leo Records [LR 371]
3½ stars by Glenn Astarita in a review for Down Beat
| This CD can be ordered at the → Online Shop |
|
CD Reviews
|
|
Aug. 13, 2003 by Jason Bivins for Dusted Reviews Lackluster Summit Conference Call is the name of a sort of new music supergroup, comprised of clarinetist/saxophonist Gebhard Ullmann, pianist Michael Jefry Stevens, bassist Joe Fonda, and drummer Han Bennink (though the group has also recorded with Matt Wilson at the kit). This disc documents a March 2001 live date in Germany. The music is pleasing on the whole but, to my ears, isn't particularly challenging or compelling. The primary reason is that I'm not sure Bennink is the right drummer for this group. Especially in an assemblage such as this, focused on timbral and harmonic integration, he's more confrontational than supportive. That may work with Misha Mengelberg, but not so well here. And the result is, though there are many fine moments scattered across this concert, the band never quite generates that head of steam. Slow block chords and whalesong arco open "Quiet," the concert's first piece. The interaction between Fonda and Stevens is great, no doubt because the two have logged a lot of hours on the bandstand in various combos including their co-led Fonda-Stevens group. Ullmann's entrance is very promising, as his deliberate harmonic archness on clarinet wriggles into the rhythmic spaces. But Bennink's clunks and crashes sound quite out of place. The piece generally continues on slow burn, building from the lower registers, and gets a bit more crazed during a piano/drums duo, followed by a typically exuberant Fonda solo. Some pieces tend to suit this particular lineup a bit more: "Circle" begins with an exuberant tenor/drums sparring match (which is decent but certainly unremarkable as far as energy music goes), while "Improvisation No. 2" is a fairly satisfying free-ish piece with good piano and bass clarinet interplay (and later on a nice duo of duos, as Stevens and Bennink jab away behind arco bass and clarinet). Still, the finest tunes are brief and lyrical, filled with shade and color: the pleasantly dark "Variations on a Theme by Claude Debussy," the Nino Rota jewel "Parlami Di Me," and Joe Fonda's lovely "Song for My Mother." As I said above, Variations on a Master Plan has its moments. But given the caliber of the individual players, one might reasonably expect the sum of parts to be more impressive. Reprinted with kind permission of Dusted Magazine All reviews written by Jason Bivins:
|
|
October 13, 2003 by Ken Waxman for Jazzword Unlike Osama bin Laden or George Bush, it's very feasible that the members of the Euro-American co-op Conference Call don't have a real master plan — and definitely not one for world domination. However the band's newest CD does pinpoint a plan variation, as veteran drummer Han Bennink has now taken over the drum chair. It seems to be not a minute too soon, either. For while the flailing Dutchman's penchant for schtick and bombast can often pulverize more delicate sounds, Conference Call's other three members are tough enough to face a Lowlands invasion. Plus the nearly perpetual percussion sounds he adds to the disc push the others out of a studied delicacy to which they sometimes seem to be heading. Primary example of this would be on the nearly 14-minute "Variations on a Theme by Claude Debussy," written and played by German multi-reedist Gebhard Ullmann as a slow-moving ballad. Between the sliding tones and squeaks from his woody bass clarinet and the low-intensity, semi-classical countermotifs from American pianist Michael Jefry Stevens, during its gestation it almost seems as if the tune will arrive still-born. However Bennink's drum rolls, cymbal smashes and just plain banging manages to wake up everyone. From high-pitch arpeggios, the pianist soon adopts some Debussyian crescendos, Ullmann contributes tongue slaps and colored air breaths and American bassist Joe Fonda's buzzing rhythm can be heard. The tune finally climaxes in an outpouring from crash cymbals and chordal piano. Bomb dropping and letting loose drags and paradiddles, Bennink does something similar on Fonda's "Circle," which lives up to its descriptive title with its circular theme. As Ullmann, on tenor saxophone, involves himself in Sonny Rollins-like emphasized snorts and honks, the drummer who has played with Rollins, extends the time with sprightly tap dance-like beats. From then on Ullmann spins out long-lined trills that are doubled and tripled with contiguous note vibrations produced by overblowing. A slinky, sliding waltz time signature propelled from behind the drum set also helps the reedist — this time on soprano saxophone — to harden his arrangement of Nino Rota's "Parlami Di Me" from drawing room European to something more rhythmically exciting, complete with squeaking multiphonics. On the downside, the drummer's introduction of the clave beat, the swish of a sizzle cymbal and some Native Indian drumming on "Improvisation No. 2" only serves to muddy the output of an already murky piece. Although Stevens avoid the floweriness and impressionistic climaxes he sometimes exhibits elsewhere, the idea of playing an out-and-out improv appears to bring out his quirky side. At one point he seems to be playing a percussive version of "Chopsticks," at another an offbeat cha cha cha. More palatable are the high intensity tremolos he introduces elsewhere. Upper-range mirrored tones are Ullmann's contributions, inexplicably backed for a few bars by classical-styled arco bass. The whole thing ends with a projected sax honk. Much more impressive is Fonda's "Song For My Mother," a tension building composition based on unwavering piano obbligatos and emphasized intensity vibrations from Ullmann. Thematically anthem-like, it suggest what Pharoah Sanders would sound like playing a patriotic song. But why glossolalia would be needed in a patriotic hymn for one's mother isn't quite clear. Still, lasting only 31/2-minutes, this seems to be the track that should have been expanded to greater length. Valuable for followers of any of the musicians involved — especially Bennink — overall the session seems to suggest that Conference Call's Master Plan needs a little more tweaking. Maybe next time out, a different organization will lead to world domination — at least in the musical sense. Reprinted with kind permission of the author. Copyright © 2006 Jazzword and Ken Waxman. All reviews written by Ken Waxman:
|
|
September 2003 by Nate Dorward for Cadence Conference Call is a regular quartet project featuring reedsman Ullmann and the well-attested Fonda/Stevens axis, with a rotating drum chair filled in the past by George Schuller or Matt Wilson but on this occasion occupied by the irrepressible Han Bennink. Hard to believe that any album with Bennink on it could start off with a track called "Quiet": Bennink gives Stevens' stately melody a slightly improbable though by no means disruptive accompaniment; but it's no surprise when the track intensifies into a fastpaced modal blow. The stylistic differences between the players work better than they ought to by right: "Circle", for instance, is a friendly battle between Ullmann's muscular postbop tenor and Bennink's racing drums (often with a flavour recalling the swing era): neither man gives the other quarter or drops out even as the bassist and pianist enter and depart. I've no idea what Debussy piece lies behind "Variations on a Theme by Claude Debussy"; the piece's sound-world in fact suggests John Surman's work with Paul Bley or John Taylor (there's the same churchy homophony you sometimes find on their recordings), though Bennink remains unmistakably Bennink, of course. A collective improvisation and two brief lyrical interludes, including a cover of Nino Rota's "Parlami di me" from La Dolce Vita, round off an enjoyable CD. I've no idea what the "master plan" of the title is, but it somehow seems appropriate that the cover shows a best-scores display from the old arcade game Centipede. Reprinted with permission. Copyright © 2006 Nate Dorward. All reviews written by Nate Dorward:
|
|
August 25, 2003 by Frank Rubolino for AllAboutJazz Gebhard Ullmann, Michael Jefry Stevens, and Joe Fonda, who have had close association in recent years working in the band Conference Call with drummer Matt Wilson, performed in 2001 at a Munich club with drummer Han Bennink. The event turned into a synergistic meeting of the minds. Ullmann appears to be in a pensive mood for this set, released as Variations on a Master Plan. He opens with a soulful bass clarinet flight through Stevens' melancholy "Quiet," which establishes a prototype for the band as it digs deeply into the interior of the entire repertoire. Solo improvisations lead to emphatic ensemble segments that built in intensity but always maintain a discreet complexion. The program features compositions by Ullmann, Stevens, and Fonda, a short Nino Rota piece, plus one spontaneous joint effort. A sense of intimacy pervades the session. Although the group explodes on command with eruptive power, it primarily sends a message of controlled passion where the intricacies of the individual efforts reach out and absorb one into the music as opposed to catapulting one through it. Ullmann's approach to improvisation keys the direction of the band. He begins subtly but soon accelerates and motivates the others into open passages where all speak freely in an interlaced language. "Variations on a Theme by Claude Debussy" exemplifies this closeness. Stevens pensively explores Ullmann's lengthy tune, while Fonda and Bennink contribute a delicately woven backdrop for the serious direction Ullmann negotiates. Bennink's normally bombastic style is somewhat restrained in this setting. His jarring punctuation occasionally comes to the fore, but he is never obtrusive. Bennink uses his patented attack mode to complement the group effort, thus he comfortably fits into the scheme of things. He shines with mixed rhythmic patterns on the delightfully quirky "Parlami Di Me." Fonda adds spunk to the program and continues to excel in every musical encounter he confronts. He has the unique ability of injecting voice accompaniment over his exquisite bass improvisations without allowing the practice to be an affectation. The warmth of the performance is pervasive. Tender passages are defined in complicated terms, and aggressive maneuvers are handled deftly, yielding gems of interactive spontaneity. This compelling recording allows one to be challenged anew with each successive listening. Reprinted with permission. Copyright © 2006 AllAboutJazz and Frank Rubolino. All reviews written by Frank Rubolino:
|
|
Stefano Merighi for All About Jazz Italia Conference Call ? un quartetto euro-americano che si muove con originalit? sul terreno aperto che accoglie in egual misura strutture e libera improvvisazione. "Quiet" tiene fede al titolo, mantenendosi su toni introspettivi, frasi angolose del clarinetto basso e accordi sghembi del piano. Poi si accende la trama percussiva, che annuncia un solo plastico, vigoroso, di Joe Fonda, bassista di solida preparazione e dinamica fantasia. Questi i brani migliori del CD. Che poi cala parecchio. Il disco documenta un concerto live all'Unterfahrt di Monaco del marzo 2001. Valutazione: * * ½ Reprinted with permission. Copyright © 2006 All About Jazz Italia and Stefano Merighi. All reviews written by Stefano Merighi:
|
|
August 25, 2003 by Kurt Gottschalk for AllAboutJazz It's probably obvious to say that German saxophonist Gebhard Ullmann's master plan is to keep jazz alive, but it's hard not to draw such a conclusion from his new quartet record. The title seems an obvious take on the classic Pharoah Sanders piece and the music within follows Ullmann's history of working the tradition like a lump of clay, stretching and molding it but retaining the essential material. Ullmann's bands are generally split between New York and European players, drawing heavily from the Berlin scene. He has worked with Phil Haynes, Andreas Willers, Ellery Eskelin, Drew Gress and Matt Wilson among others in the past. Here he adds Dutch drummer Han Bennink to a group with longtime collaborator Joe Fonda (exclusively on bass for this session) and pianist Michael Jefry Stevens. The band is solid, with all but Bennink contributing to the songbook, and adding a Debussy theme and a short piece by Nino Rota (most known for his Fellini and spaghetti western soundtracks). The surprise here is the drummer. Bennink is a great percussionist whose onstage antics are a large part of the ICP Orchestra's charismatic shows. His rolls and sudden bursts are recognizable, but he seems to be content to be a timekeeper for this live recording. The material is moody and evocative, from the lyricism of Ullman's Debussy arrangement and Stevens' appropriately titled "Quiet" to Fonda's upbeat "Circle" and the driving explorations of the one fully improvised piece. It may not have the sweeping sense of purpose of some of the leader's previous work, notably the reed octet on Ta Lam Zehn, another live recording issued by Leo, but Ullman is dextrous on bass clarinet and tenor and soprano saxophones, and the group comes together for a strong survey. This review originally appeared in AllAboutJazz-New York. Reprinted with permission. Copyright © 2006 All About Jazz and Kurt Gottschalk. All reviews written by Kurt Gottschalk: |
|
Steven Loewy for All Music Guide Even taking into account Gebhard Ullmann's outstanding discography, this is an extraordinary release due in large part to one of the most impressive rhythm sections on either side of the Atlantic. Ullmann rises to the occasion with some of his most inspired work on disc, and when it is over the only question the listener is likely to ask is: Why isn't Ullmann better known than he is? His full-sound on tenor sax resounds with the consistency of a thick chocolate shake, and on Joe Fonda's "Circle," the intense interplay of the band takes hold, leading to outstanding camaraderie and interaction. This is a group that indulges in diversity, and one minute the mood may be upbeat and fanciful, and the next morose and somber, but there is no question that Ullmann knows where he is going. The drawn-out pace of "Variations on a Theme by Claude Debussy," for example, finds Ullmann on his bass clarinet, gently and even romantically waxing lyrically, with Michael Jefry Stevens holding court, and Han Bennink sporadically socking the rim. Nino Rota's "Parlami" (arranged by Ullmann) is, suitably, interpreted whimsically, sounding like something out of the Carla Bley or Willem Breuker catalog. At his best, Ullmann treads that fine line between playing chords and venturing out on a limb; a balancing act that he handles with finesse. At times, as on the free-wheeling "Improvisation No. 2" (Where is No. 1?), there are few restraints, while on the closing "Song for My Mother" (an inevitable title after Horace Silver's well-known "Song for My Father"), the saxophonist rises above the slow rumble of the rhythm trio with long, powerful Coltrane-esque tones. Reprinted with permission. Copyright © 2006 All Media Guide, LLC and Steven Loewy. All reviews written by Steven Loewy:
|
|
Bruce Lee Gallanter for Downtown Music Gallery This was recorded live in Munich in March of 2001 and has superb sound. I recall Gebhard from a fine cd on Soul Note [Bruce thinks of Final Answer with Matt Wilson on drums.] from a while ago, as well as another half dozen releases out on Nabel and Between the Lines. Stevens and Fonda have been playing together in different bands for about two decades and have numerous releases out on Leo. Conference Call is the band or project name and the aforementioned Soul Note cd was that band with a different drummer, now replaced by that wacky Dutch dynamo, Han Bennink from ICP. Everyone contributes one or two pieces but Han plus they do cover by Nina Rota and one group improv as well. Michael's "Quiet" opens with an exquisite melody and enchanting bass clarinet. Han plays incredibly well, both swinging intensely one moment and playing magically around the pulse simultaneously. Soon the rambunctious piano and drums take off together for the stratosphere with Mr. Fonda also walking furiously at the center and then taking an incredibly crafty bass solo, with also working closely and both players shining together. Fonda's "Circle" is a haunting, somber piece for smoky bass clarinet and delicate accompaniment, with Han also buzzing beautifully around the enchanting piano, eventually working its way through "Variations on a Theme by Debussy", another long and winding work which moves through hills and valleys and takes us along for a great ride. "Improvisation No. 2" shows what this grand quartet does best, by spinning a web of connected spirits which fly, sail, jump and erupt together as one great force/quartet. Concluding with Joe Fonda's "Song for My Mother" which is a perfect closing piece with a transcendent gospelish theme and Han once again providing that marvelous swirling mass of spiritual energy. Reprinted with permission. Copyright © 2006 Downtown Music Gallery and Bruce Lee Gallanter. All reviews written by Bruce Lee Gallanter:
|
|
2004 by Julien Prat for JazzoSphère Ullmann, Stevens, Fonda : les musiciens n'en finissent pas de ravir, à chacune de leur réunion, le public. Les échanges sont intenses, riches et empreints d'un respect et d'une attention à l'autre sans commune mesure. Han Bennink s'adjoint au groupe, pour cet album, avec beaucoup de réussite et d'envie. Reprinted with permission. Copyright © 2006 JazzoSphère and Julien Prat. |
|
Quotes from further reviews "... from the onset , it becomes easily discernible that the musicians' karma equates to a magical session ... 4 1/2 stars. ... on Variations On A Master Plan the vivacious Han Bennink operates the drum chair. This incarnation opts for a slightly unrestrained mode of attack, featuring upwardly spiraling movements, free-bop chorusses and suspenseful gravitations toward a musical apex ..." — Downbeat Source: JAZZLOFT |
| © Joe Fonda | maintained by hepcat1950 | TOP | Back to discography | last update: February 21, 2008 |
|---|
Italian language
French language