- Herb Robertson - trumpet
- Michael Jefry Stevens - piano
- Joe Fonda - bass
- Harvey Sorgen - drums
- Napoleon Maddox - human beat-box and poetry
| Discography of Joe Fonda | 2004 |
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Lineup
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Recorded by Jonathan Townes at Peter Karl Studios, NY on February 22, 2004
Mixed by Peter Karl at Peter Karl Studios, NY on March 27, 2004
Produced by Joe Fonda and Michael Jefry Stevens
Executive Producer: Michael Lintner
Released in 2005 by 482 Music [482-1032]
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CD Reviews
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By Chris Kelsey for Jazz Times The perpetual outrage I felt in my youth about inequity in the jazz biz has faded over the years. Some stuff's going to be popular. Other stuff isn't. Some fine players win critics' polls. Others don't. That trumpeter Herb Robertson doesn't is almost enough to reawaken my dormant idealism. On Forever Real Robertson displays an abundant creativity and a comprehensive knowledge of his horn's possibilities. He's the complete jazz trumpeter, as able to mix it up on bassist Joe Fonda's "Forever Real," a loose, bossa-like modal tune, as on the many free-time episodes that dot the various tracks. Fonda is a hard-swinging player who balances melodic and support roles exquisitely. Drummer Harvey Sorgen is a master of moving time hither and yon-maintaining the pulse while shattering meter into tiny shards. Pianist Michael Jefry Stevens blends a pliable rhythmic and melodic sense with a mercurial technique that serves him well. "Human beat box" Napoleon Maddox's contributions are not particularly effective, but they are brief. This stuff's out, but the band holds onto a thread of groove and swing, making it something an avant-newbie might dig. Source: Countercurrents section from the July/August 2005 issue of Jazz Times All reviews written by Chris Kelsey: |
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May 2, 2005 by Ryan McDermott for One Final Note Simply put, the Fonda/Stevens Group is one of the finest and most underrated post-bop groups around. If you want to talk about innovation, tight musicianship, and near stellar interplay (all of the most important things in putting together a group) then you have to mention the group on Forever Real, Fonda and Stevens' latest effort. The album, which includes Michael Jefry Stevens on keys, Joe Fonda on bass, Herb Robertson on trumpet, Harvey Sorgen on drums, and special guest Napoleon Maddox on human beat box and poetry, has flashes of everything from Ramsey-Lewis style funk to reminiscence of Anthony Braxton. Together since their days in the Mosaic Sextet, Stevens, Fonda, and Sorgen take their intense musical relationship to the next level on this, their eighth album. The title is appropriate since these guys are one of the truest groups in modern jazz, blending all elements from the most traditional to the most free. All seven tunes are Fonda/Stevens composed, keeping with the tradition of what they have been doing for years whilst still breaking some new ground. The group's constant experimentation with time signatures can be heard most overtly in "The Call", a bluesy piece driven by freeform movements and subtle but pushing trumpet of Robertson. "Cotton", probably the hippest cut on the record, is the only one to feature guest beat boxer and poet Maddox of the Cincinnati hip-hop group Is What?! Behind front piano and drumming and atonal trumpet, Maddox can be heart dropping ridiculous hi-hat and bass drum sounding beats, playing extremely well with drummer Sorgen. Halfway through the cut Maddox starts waxing poetic about his sociopolitical beliefs and it is wonderful. He speaks his mind about the state of youth and the things that make material items worth more today than nonmaterial ones. Shouting like a modern day beat poet behind a supped up 50s free jazz quartet, I was left wishing that Maddox had been featured more prominently on this record. The other tracks on the album speak for themselves. From the haunting, piano-driven "A Question of Love" to the upbeat rap of "From the Source", the record is easily one of the most solid records of 2005 so far. There isn't a bad cut on the album. Just take in all the myriad styles the Fonda/Stevens Group has to offer and hope that other groups can come close to how consistent they are with their near-perfection and intensity. Reprinted with permission. Copyright © 2006 One Final Note and Ryan McDermott. |
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March 24, 2005 by John Kelman for All About Jazz Since emerging on the scene in the late '80s with trumpeter Dave Douglas and the Mosaic Sextet, pianist Michael Jefry Stevens, bassist Joe Fonda, and drummer Harvey Sorgen have all worked in a variety of contexts. Fonda was Anthony Braxton's bassist of choice in the mid-'90s; Stevens has worked in trios with Mark Whitecage and Dominic Duval; Sorgen has been involved with everything from free jazz to the blues/roots group Hot Tuna. But it's within the context of the longstanding Fonda/Stevens Group that their musical personalities have been at their most compelling. With five previous releases as either a quartet and quintet, it's trumpeter Herb Robertson who has been the closest thing to a constant fourth member, having been on most of the group's recordings, including '02's outstanding The Healing. With Forever Real, the quartet of Fonda, Stevens, Sorgen, and Robertson continue to mine territory that defies categorization. While the seven compositions by Fonda and Stevens live, without a doubt, in more liberated improvisational territory, what gives them a stronger sense of purpose is their compositional scope. Stevens' "The Stalker," for example, revolves around a pseudo-Latin groove that is thematically reminiscent of Don Byron's "Next Love" from Tuskegee Experiments, but with a lighter yet no less substantive complexion. Fonda's "Relentlessness," on the other hand, with its initially-persistent bass ostinato, is more idiosyncratic, with an odd theme that transcends restrictive bar lines. The tune eventually dissolves into a free improvisation by Fonda that resolves into an even quirkier and less rhythmically-straightforward construct over which a collective improvisation concludes. Stevens is, as a rule, the more structured and accessible composer, with Fonda's writing more about not-so-simple ideas as a basis for exploratory work by all involved. Stevens' "A Question of Love" begins with a free piano solo but ultimately finds its way into a gentler space. Fonda's "Cotton," on the other hand, centres on a more obfuscated theme that merely serves as a basis for the group's more abstruse leanings; although the piece actually finds its way into an almost funky groove that serves as a feature for guest Napoleon Maddox's "Human Beat Box" sounds and stream-of-consciousness poetry. Everyone demonstrates a fine ability to skirt the edges of convention, while at the same time stretching its boundaries. Most notable is Robertson, who manages to imbue the compositions with an askew sense of humour, preventing things from becoming too serious. Coaxing a surprising variety of textures from his horn, Robertson is a fiercely original player whose refusal to compromise has made him trumpeter of choice on a surprisingly large number of recordings — over seventy to date. Curiously and consistently overlooked in North America, the Fonda/Stevens Group, thankfully, enjoys a solid reputation in Europe that permits the group to continue. And with Forever Real, it manages to combine heady composition with more visceral improvisation, making this a potent and highly recommended release for those who enjoy their free music with a little more form. Reprinted with permission. Copyright © 2006 All About Jazz and John Kelman. All reviews written by John Kelman:
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March 19, 2005 by Dennis Hollingsworth for All About Jazz John Cage said that music is all around us, ever present in the universe. Yet we do not always have the "ears" to decipher it. Forever Real offers the opportunity to exercise your "ears," presenting you with unique sounds that ebb and flow like the tide. This effort is the eighth recording from the Fonda/Stevens Group. Largely unknown here in the US, the group is well recognized in Europe, certainly unfortunate as it deserves recognition. Bassist Joe Fonda and pianist Michael Jefry Stevens have played together in a variety of settings, notably with Dave Douglas in the early '90s. For more than a decade, with the addition of drummer Harvey Sorgen, this group has been a rare commodity, keeping a consistent foundation with longevity. Few working bands can boast such continuity given the inherent financial and logistical realities. All of the compositions on this disc belong to either Fonda or Stevens. Stylistic categories are simply too confining for this ensemble's inventive originality. There is a running dialogue between all members during each song, with free flowing interplay and technically adept design. Those considering spectatorship should be aware that the music requires participation, not unlike reading a serious novel. This is not background music. Take some quiet time, pay attention, and you will be fully rewarded. Herb Robertson uses all the sounds available from his trumpet, summoning memories of Lester Bowie, always a welcome happenstance. Breaths, grunts, pops, and bellows augment his use of traditional tones. Throughout the disc, Fonda provides necessary support with strong soloing. Sorgen is particularly impressive. The fact that he also plays with the band Hot Tuna exemplifies his versatility. The inclusion of Maddox adds intrigue in spots, particularly his striking poetic uttering on "Cotton." After listening to this, you too will want to know what cotton is! "The Stalker" is a mosaic capsule of what makes these guys special. Starting with a piano vamp, bowed bass, trumpet musings, and churning drum patterns, the tune unfolds and expands into unexpected territory. Melody is there, but subtly presented. Stevens leads the way with a solo full of block chords, melodic twists and harmonic questions. Robertson's explorations lead to a fleeting display from Sorgen played with controlled fire. Robertson brings the quartet back and the tune slowly dissolves. Nice! Bands as dynamic as this present a solid test of engineering skill. In that regard Jonathan Townes warrants mention, as the recording quality is first rate. Each player is properly placed in the soundstage. Microphone choices and placement capture the particular qualities of each instrument. Piano and snare drum, not easily recreated, are superb. Cymbals are also present and distinctive. This disc would be a welcome experience for any jazz fan. But it is well suited to those who prefer 21st century harmonies and a multicolored palette. These men play very well and I am grateful for the opportunity to comment. Heartily recommended. Reprinted with permission. Copyright © 2006 All About Jazz and Dennis Hollingsworth. |
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April 11, 2005 by Glenn Astarita for All About Jazz These days, there are few modern jazz groups which can seamlessly merge elements of free improvisation with mainstream and post-bop stylizations, while still maintaining a signature group sound. The Fonda/Stevens Group is partly about the sum of its parts, where the respective musicians emerge as stylists by honing a group-based methodology that stands on its own. A portion of this outing features trumpeter Herb Robertson's warm lower-register voicings via sub-theme dialogues with pianist Michael Jefry Stevens. They methodically intermingle quaint melodies with lightly swirling choruses amid shrewdly concocted alterations in pitch and meter. Occasionally, Stevens establishes simple ostinatos to be expounded upon by his bandmates. Yet the band is apt to turn up the heat via ballsy exchanges and glistening crescendos. The quartet playfully dissects a blues groove with freeform movements and odd time signatures during "The Call." They convey additional diversity on a Ramsey Lewis-style funk motif on the final cut, "Cotton," where guest artist Napoleon Maddox adds some sociopolitical rap atop the ensemble's loose gait. Overall, the unit's latest effort should be well-received by its legion of followers. Sure enough, it's a tastefully executed and indubitably entertaining studio date. Reprinted with permission. Copyright © 2006 All About Jazz and Glenn Astarita. All reviews written by Glenn Astarita:
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September 22, 2005 by Ernest Barteldes for All About Jazz The mood on Forever Real goes from the pleasant groove of the title track to more experimental moments in which trumpet player Herb Robertson and pianist Michael Jefry Stevens exchange jabs, as on the eight-minute "From The Source" and the more uptempo "The Stalker" (eleven minutes that go in every possible direction), in which Robertson makes you think he's switched to a flute at times-which he hasn't, it is just his technique on the instrument. In one of the album's most interesting moments, bassist Joe Fonda brings his instrument from the background and initially duets with Robertson on "Relentlessness." They later start improvising on their own, while the human beat box of Napoleon Maddox joins drummer Harvey Sorgen in what becomes a harrowing backdrop for the song. This album is definitely not intended for the casual listener. It needs to be heard over and over in order to grasp what it means. It can be a bit of a scary ride at first, but you get used to it and realize that these musicians had a whole concept in mind when creating this strange but wonderful music. Reprinted with permission. Copyright © 2006 All About Jazz and Ernest Barteldes. |
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Vittorio Lo Conte for All About Jazz Italia E' da tempo che il pianista Michael Jeffrey Stevens e il contrabbasista Joe Fonda lavorano insieme e che ci deliziano con opere il cui ascolto e' un'esperienza ragguardevole. Insieme a musicisti di diversa estrazione, come Herb Robertson, il sassofonista tedesco Gebhard Ullmann ed il batterista George Schuller hanno gia' lasciato testimonianza della loro creativita' in tour per l'Europa e gli Stati Uniti o grazie a case discografiche come la Leo Records e la Konnex. Anche su questo nuovo lavoro in quartetto i due artisti americani si confermano voci di punta dell'attuale panorama musicale contemporaneo. Ovunque prevalgono atmosfere jazzistiche che confermano la profonda conoscenza di questo linguaggio ma anche la capacita' di trascenderlo e di giocarci con riferimenti che sono una collezione di citazioni che trasgrediscono gli stili in cui si e' solito dividere la musica jazz contemporanea. A volte la loro poetica si esprime dolcemente, come in "A Question of Love", ma ci sono momenti con in "The Stalker" in cui si sfiora la genialita' con mezzi apparantemente semplici, quali un pedale alla McCoy Tyner su cui si inserisce la tromba schizofrenica di Robertson, borbottante, dall'eloqio prima sconcentrato e subito dopo da bravo mainstreamer, mentre Stevens riesce nel suo assolo a mettere insieme accenti evansiani e sapori piu' boppistici. Tutti i brani sono articolati per contrasti ed una forte attenzione per il colore all'interno della conclamata liberta' i espressione che e' la premessa per far funzionare un gruppo del genere. Interessante e' fare il confronto con precendenti versioni delle composizioni qui incise, ad esempio "From the Source" di Joe Fonda, presente sull'omonimo disco pubblicato dalla Konnex, insieme ad Anthony Braxton, un album interessante per l'originale uso dei ritmi di tip tap di una ballerina coinvolta nel progetto. Di Robertson, conosciuto dal pubblico italiano anche per la collaborazione con Tiziano Tononi, non si puo' che confermare la felice vena e la capacita' di improvvisare realmente in tutti i possibili contesti. Sul brano finale "Cotton", si fa la conoscenza del rapper Napoleon Maddox, impegnato pure a fare da human beat-box: ulteriore conferma della facilita' con cui Fonda e Stevens, insieme ai musicisti che girano loro intorno, siano capaci di appropiarsi di qualunque tipo di linguaggio per trascenderlo e farlo proprio in un perfetto equilibrio di eleganza, controllata emozione e puntualita' descrittiva: come si vede l'uso della liberta' del free in buone mani da' dei risultati in cui la sorpresa - ed e' in fondo e' questo l'intento di questo gruppo - sta sempre dietro l'angolo. Valutazione: * * * * Reprinted with permission. Copyright © 2006 All About Jazz Italia and Vittorio Lo Conte. All reviews written by Vittorio Lo Conte:
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Bruce Lee Gallanter for Downtown Music Gallery Featuring Michael Jefry Stevens on piano, Herb Robertson on trumpet, Joe Fonda on acoustic bass, Harvey Sorgen on drums, plus guest Napoleon Maddox, spoken word and human beat-box. This appears to be the 8th disc from this fine group, which occasionally includes Mark Whitecage as a member. This is a studio date from February of 2004. A superb and extremely well balanced recording with both co-leaders each contributing half of the pieces. The title piece is a marvelous, majestic work with a dreamy, floating quality. Joe Fonda is a magical bassist and has a unique way of playing layers of intricate lines with the drummer as well as the pianist, balancing the band just right. The ever amazing Herb Robertson also has his own distinctive sound and always finds a way of injecting his crafty, devilish spirit into whatever situation he is in. Drum wiz, Harvey Sorgen, is another under-recognized giant who has worked with Hot Tuna over the past decade and never ceases to impress me with his tasty percussion. Michael Jefry Stevens is also a constant joy on piano and here contributes some of the most charming songs around. The Fonda/Stevens Groups remains one of the great ensembles in modern jazz, each disc continues to astonish us with the ever-creative and spirited playing. Reprinted with permission. Copyright © 2006 Downtown Music Gallery and Bruce Lee Gallanter. All reviews written by Bruce Lee Gallanter:
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