- Roy Campbell Jr. - trumpet
- Mark Whitecage - alto saxophone
- Joe Fonda - bass
- Lou Grassi - drums
- Court Street (Mark Whitecage) 20:29
- Fast (Joe Fonda) 9:04 full title
- Gone Too Soon (Joe Fonda) 6:35
- One For Hannibal (Roy Campbell Jr.) 16:25
| Discography of Joe Fonda | 2001 |
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Lineup
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Recorded by Matt Guamere January 27, 2001 at the Bop Shop, Rochester, New York, USA
Mastered by Jorge and Fernando Rascão.
Produced by Pedro Costa, Carlos Costa, Rodrigo Amado / Trem Azul.
Released 2001 by Clean Feed Records [CF002]
| This CD can be ordered at the → Online Shop |
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Liner Notes by Robert Iannapollo / March 2001 [→ CD Reviews] ...so how new is the Nu Band? The answer is, in a word, very. The disc you are holding in your hands is from the band's third concert. Yet, despite being new, there's a lot of history here. Band members, trumpeter Roy Campbell Jr., redd player Mark Whitecage, bassist Joe Fonda and drummer Lou Grassi, all have interconnections, some going back to the 1970s. It's actually a bit surprising that this co-operative band didn't fall together sooner. The idea for the Nu Band came together from a conversation between Roy and Lou. They had been talking on and off for a while about forming a band together. Roy said he wanted it to be with people with whom he wasn't usually associated so that it would be a distinct group. (One that didn't give the impression that it was an offshot of the Pyramid Trio or Other Dimensions In Music.) Lou suggested Joe Fonda for the bassist and Roy thought it was a good idea. But for a long time they couldn't come up with another horn player. Then one day Mark Whitecage called Lou about making a duo gig with him and, in Lou's words, "the light went on". Roy liked the idea and said he had played with Mark once many, many years ago. And so, the Nu Band was born. What's fascinating about this band is that it's a coalescing of many streams. Each player brings with him a wealth of experience as both instrumentalist and composer, leader and sideman. But this is a band to which its members are committed. They have each contributed Compositions and all help getting the band work. According to Lou, "most co-operative bands fizzle because nobody's the leader so nobody does anything. I like it that in this band everybody steps up and takes the reins and we keep it happening". Let's hope they keep it up because a band that makes music this good deserves to have a bright future. Roy Campbell came out of the New York ferment that eventually evolved into the loft scene. He started playing trumpet at age 17 and his earliest heroes were Lee Morgan and Kenny Durham. By the early 70s he had absorbed the stream flowing from Coltrane and Ayler. His first appearance on record was on Jemeel Moondoc's The Evening Of The Blue Men. Unfortunately, much of his earlier work has gone unrecorded. During the 80s his talents were utilised in many of that decade's great bands including Cecil Taylor's Unit, David Murray's Octet and Billy Bang's small groups. He didn't release his first recording until 1991, the superb New Kingdom. Since then, he's released several albums including two documents with his Pyramid Trio and three with Other Dimensions In Music, his co-operative band with Daniel Carter, William Parker and Rashid Bakr. Mark Whitecage got his start in jazz groups around Connecticut in the 1950s. He met up with like-minded, forward-thinking musicians in the area [vibist Bobby Naughton, bassist Mario Pavone] and their first recording as Nature's Consort got them a bit of attention. By the late 60s Whitecage was absed in New York and gigging around with musicians like Paul Bley. He was eventually tapped by German vibes/flute/bass clarinet player Gunter Hampel to be a key member of his Galaxie Dream Band. Along with singer Jeanne Lee and clarinet player Perry Robinson, he gave that group's music its unique character. Much like Campbell, Whitecage didn't record under his own name until relatively late. Liquid Time, from 1990 had Joe Fonda as one of its members, as well as trumpeter Dave Douglas. He has spent much of the 1990s adding to his discography with a series of challenging and diverse recordings. Like Whitecage, Joe Fonda came out of Connecticut but from a different generation. He emerged in the 1970s and had a strong association with the New Haven-based collective the CMIF1 (whose members included Gerry Hemingway, Anthony Davis, Bobby Naughton, Thomas Chapin a/o). His first release was 1976's2 Looking For The Lake, a quartet date. He hasn't looked back since. He spent a good part of the following decade honing his instrumental and compositional skills in various groups including Leo Smith's, Bobby Naughton's and Anthony Braxton's. In the 90s he really came into his own as a co-leader of the Fonda-Stevens Group (with pianist Michael Jefry Stevens), in a piano trio with Carlo Morena and Jeff Hirshfield, as well as in his own projects and recordings. Drummer Lou Grassi hails from New Jersey and has been playing drums since he was 15. His first recording date was on Roswell Rudd's 1973 JCOA3 record Numatik Swing Band. (He recently renewed his recorded affiliation with Rudd on the trombonist's recording of last year, Broad Strokes.) Although he kept a low profile in the 1980s, he was far from inactive. He was honing his skills in a number of bands (including that of ragtime specialist Max Morath, pianist Borah Bergman a/o), leading his own Dixieland ensemble, The Dixie Peppers and backing various modern dance troupes. Grassi's recording activities have increased in the last decade most notably with the activity of his Po Band which numbers trumpeters Paul Smoker and Herb Robertson, pianist Burton Greene, bassist Wilber Morris among its members. All of this experience comes together in the Nu Band to make a unique music as fresh and invigorating as any being done today. The concert featured here was recorded on a cold January night at the Bop Shop, a record store in Rochester, New York. The signs were not auspicious. Joe Fonda came dragging in with a touch of the flu. He just wanted to lie down. The coffee house across from the atrium where the band played had scheduled a "poetry slam" for 9:30 putting a time pressure on the proceedings. But, once they picked up their instruments, the band came through...boy did they ever! They started with "Court St." a Mark Whitecage composition. From the opening squiggles of his solo, it was clear he wanted to play. He's soon joined by Fonda, (who was dragging even as he walked up to his instrument) playing a high end arco. Soon drums and trumpet entered and the Nu Band was taking off. By the time the lightly skipping, Latin-esque theme emerged (about 7 minutes into the piece) everyone was grooving. Lengthy, powerful solos from Whitecage and Campbell are buoyed by Fonda and Grassi's rhythm work. By the conclusion of the piece's 20 minute run, all negativity had been erased and band and audience were on a high. Next up was a Joe Fonda's aptly titled composition "Fast". He had performed it a few months earlier at the Bop Shop with the Fonda-Stevens Group. Starting with a hyperfast ostinato pattern on bass (one couldn't accuse Fonda of slacking off), sax, trumpet and drums state the unison, staccato theme as one voice before breaking into a quirky kind of contrapuntalism. Solos continue at this breakneck pace. Note that during Grassi's solo, Fonda, who by this time was dancing and singing with his instrument, lets out several cathartic shouts of the title of the piece. It's almost as if he were casting out the last of the bad vapors that had plagued him pre-concert. "Gone Too Soon" is another Fonda composition. This one had been previously recorded with the piano trio he shares with Carlo Morena and Jeff Hirshfield [.............]. This version is quite a bit different. It's an elegy for the late, great saxophonist (and friend of everyone in the band) Thomas Chapin who died in 1998. The flavour here (with Whitecage on clarinet) is reminiscent of a Mingus-ian ballad (a la "Eclipse" done with Dolphy) and the middle section with its detuned bass, sparse percussion and little interjections from trumpet and clarinet is one of the high points of the set. The Nu Band took this piece in a whole new direction. The final piece of the evening was Roy Campbell's "One For Hannibal", dedicated to fellow trumpeter and friend Hannibal Marvin Peterson. This was originally on Campbell's trio recording "Pyramid" and here is featured in a different arrangement. The lengthy percussive intro on the record is replaced by a powerful unaccompanied trumpet solo full of spiked peaks and deep, dark growls. When the rest of the musicians come in, it's at full-bore with Grassi's polyrhythmic barrage leading the charge. The collective improv at the end reached high into the atrium and brought the evening to a rousing conclusion. All members of the Nu Band were smiling and Joe Fonda walked away from his bass with a spring in his step, yet another testimonial to the magical powers of music. |
CD Reviews
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Ken Waxman for Jazzword Definite truth in packaging if not in spelling, the cooperative Nu Band is new enough to have produced this memorable CD on its third ever gig. Existing in an economic atmosphere where every improvising musician must have several irons in the fire and operate as a member of several groups simultaneously, this awkwardly named combo is made up of four veteran players who have been concerned with making it new since the mid-1970s. Trumpeter Roy Campbell may have the highest profile, as one of his other gigs is with Other Dimensions in Music, the co-op quartet that also features bassist William Parker and multi-reedist Daniel Carter. But the brassman has also played and recorded with the likes of pianists Mathew Shipp and violinist Billy Bang plus leading his own aggregations. Bassist Joe Fonda has often worked with composer/performers such as Anthony Braxton and Wadada Leo Smith in the past, and is now involved in a variety of projects, most notably his well-received quartet with pianist Michael Jefrey Stevens. Drummer Lou Grassi has accompanied folks as different as ragtime piano specialist Max Morath and Arkestra mainman alto saxophonist Marshall Allen as well as leading his own PO band. Undeservedly the least known element, alto saxophonist Mark Whitecage spent years as featured sideman in German vibist Gunter Hampel's Galaxie Dream Band, but lately has been working to raise his own profile. Operating in a space defined on one side by adventurous freebop and by unbridled energy music on the other, the four are familiar enough with the language to create flowing, inflected solo statements without ever undermining the overall rhythmic flow. So while Whitecage's liquid alto forays may probe atonality on his own "Court Street", the first — and at 201/2 minutes, the longest track here — Grassi's polyrhythms and Fonda's solid time keeping prevents the structure from heading off into space. With themes and counter themes suggesting early Ornette Coleman and Albert Ayler, this and the other tunes still have a definite structure. Plenty of solo space is built into that edifice, of course, with room for Campbell's treetop jumping trumpet, Grassi's sophisticated drum sallies and a place for Fonda to let loose as he hums and whistles along as he plays. Before the initial motif reassert itself following some front line note trading, there are a couple of sections that seem to relate more to Klezmer than the Cool. Consisting of two shorter numbers written by Fonda and a longer one by Campbell, the rest of this live date is pretty consistent. True to its title "Fast" gives its composer, Fonda, who was suffering from the flu — though you wouldn't know it from his excited performance here — enough scope to race up and down his strings. He's so energized by his bull fiddle showcase in fact, that he shouts in Grassi's display of percussive pyrotechnics, before the entire tune ends with a well-placed rim shot. "Gone Too Soon", another appropriate title, since at slight more than 6½ minutes, it's the shortest piece here, is a slinky ballad. Delineated by muted trumpet smears, it appears to give Whitecage a chance to showcase his uncredited but resonating bass clarinet tones. Introduced by growling, open-horn brass mountain climbing by its composer, Campbell's solo on "One for Hannibal" references many more trumpeters than its dedicatee, Hannibal Marvin Peterson. Celebrating every valve master who played a plunger chorus from Cootie Williams to Lester Bowie, contributions from the rest of the band soon move it straight into energy music. With Campbell's constricted glottal tones first soaring over Grassi's clamorous kit barrage, then succeeded by Whitecage highlighting accented reed screeches, finally seconded by Fonda's rock-solid work, it pulls a form of early jazz into the continuum. Proving that this is a group whose catholicity allows something like Ayler's conceptions to share space with Williams' mature style, the entire album speaks of musical acceptance, not rejection. In the end that's why LIVE AT THE BOP SHOP is such an exciting product. Unlike self-satisfied jazz neo cons that try to limit definitions of improvisation, these neo-radicals apply an array of sounds and techniques to create a richer more satisfying soundscape. Reprinted with kind permission of the author. Copyright © 2006 Jazzword and Ken Waxman. All reviews written by Ken Waxman:
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Nils Jacobson for All About Jazz "Nu" is an apt term for the group leading this adventurous live outing. It's the first time these four veteran players have joined forces. It's only the second release on the new Portuguese Clean Feed label. And it documents the quartet's third (!) performance. "Nu" indeed. But there's nothing new about these musicians. Each has his own history deep in the roots of the free/energy music continuum, and all have shared musical connections at one point or another along the way. What sets the group apart is its fresh, energetic approach to improvisation-and in a live setting, there's no reason to hold back. The opener, saxophonist Mark Whitecage's "Court Street," is a massive 20 minute-long affair. Whitecage leads off with a solo consisting of brief motifs expanded and developed over time. Bassist Joe Fonda joins in to make it a duet, at first whispering quietly in the back with arco gestures, and then settling in for some pointed commentary. Soon the tune adopts collective energy, each player lending his voice to open, spirited conversation. Whitecage and Campbell blow sharp and hard. Midway through, "Court Street" falls into a perky swing, loping along an upbeat melody. That melody continues to define the rest of the piece. After few minutes of introspection, the Nu Band returns to emitting intense energy. It's quite a voyage. Skip past "Fast," whose pace you can imagine (and which becomes abundantly clear early on when Fonda repeatedly shouts out the title). The Nu Band slips into quiet, dark territory on "Gone Too Soon," which has an sparse, simmering feel. For about seven minutes, notes come in handfuls, muted and stretched. The rhythm section shines here-drummer Lou Grassi playing lightly on the deep drums and connecting quite intuitively with Fonda's own ostinato rumblings. As a whole, Live has exactly the kind of freshness that listeners might expect from the personalities who form the Nu Band collective. Due to the nature of the performance, it's a long-term kind of thing. (Be patient.) Occasionally solos ramble a bit (especially from Roy Campbell's horn), but that's the price of taking a few risks. Nobody's in charge here, and the fact that the quartet works so well is a tribute to its members' respect for each other. If you dig Other Dimensions In Music, another collective free quartet which includes Campbell, you'll find a lot of similarities here. Reprinted with permission. Copyright © 2006 All About Jazz and Nils Jacobson. All reviews written by Nils Jacobson:
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By Aaron Steinberg for Jazz Times Certainly no one can accuse the Nu Band of dishonest advertising. The quartet, comprised of saxophonist Mark Whitecage, trumpeter Roy Campbell Jr., bassist Joe Fonda and drummer Lou Grassi, had only performed together twice before recording Live at the Bop Shop (Clean Feed) at the Rochester, N.Y., locale. Here, on their third gig, they play like a new group, unfortunately. What the quartet has going for it, however, is a surplus of energy and enthusiasm. Take Whitecage's theme-obliterating first solo on his own "Court Street," for example. Or there's Fonda, run down with the flu but nevertheless beating and berating his bass mercilessly. The admirable drive doesn't result in a cohesive performance, however. The band isn't quite comfortable with the material or one another yet, and they tend to go their own way whenever it suits them. Campbell is not on his best game either. Sluggish throughout much of the performance, the trumpeter sounds like the one with the flu. It could and should happen for these guys-solid players all. It just didn't the third time out. Source: Countercurrents section from the May 2003 issue of JazzTimes |
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May 2002 by Frank Rubolino for One Final Note Live performances always seem to bring out something special in musicians, and that is certainly in evidence on this session featuring trumpeter Roy Campbell, reed player Mark Whitecage, bassist Joe Fonda, and drummer Lou Grassi, who collectively call themselves the Nu Band. Their music starts quietly with probing investigations by Whitecage and Campbell, and then they open up all the vents and go full steam ahead. These mainstays of the New York scene, who typically do not work together, collaborate on four selections composed by band members. Two of these are extended sojourns where the additional time translates into a surplus of inventiveness. The music does not fall into the category of a romp. It is a well-conceived directional set of tunes that highlights the improvisational talents of the musicians and the motivational drive of the collective unit. Whitecage passionately lunges into long dissertations on the art of solo construction. He spins out rousing rounds on his alto, and although he is not an explosive player, his developmental tactics build the intensity of each piece. Campbell, arguably the strongest trumpeter on the scene today, has an indefatigable spirit. He picks up where Whitecage leaves off and carries the songs further into highly energized cycles of creativity. Campbell spits out rounds of fire, and his tonality remains at full strength even after extended playing. His work on "One for Hannibal" is particularly impressive. Fonda is such an emotional player. Seeing him live is just as much fun as hearing him, for his animated playing translates into an infectious attitude that permeates the set. On this date, one can visualize his antics as the sound of his voice softly rises in unison with his stellar bass playing. Grassi plays a dual role of colorist and propeller. He adds the appropriate accents to embellish the work of the others, but he also becomes a formidable force with intricate rhythmic drumming. The two middle tunes are by Fonda, and they allow him to put on a show of galloping improvisation and audible mumbled accompaniment. Grassi shines throughout the session but particularly on "Fast", where he fashions a drum solo starting with a continuous circle of rhythm that storms into rolling rounds of energy. The second Fonda tune "Gone Too Soon" is a pace changer, sending the band into a reflective mood on the Thomas Chapin dedication piece. Whitecage switches to clarinet, Campbell gets mellow, and the song advances with elegant beauty. On the closing tune, they all turn the fast-paced Campbell song into a barnburner with an excellent display of controlled energy. This new amalgam of staunch artists dives into spirited playing on this date. The selections flow in logical evolutionary mode, and the four musicians combine power and finesse to achieve a cohesive program of freely spun music. I hope they continue to play and record together. Reprinted with permission. Copyright © 2006 One Final Note and Frank Rubolino. All reviews written by Frank Rubolino:
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Rui Eduardo Paes Gravação de um memorável concerto, o terceiro, deste grupo formado por Roy Campbell, Mark Whitecage, Joe Fonda e Lou Grassi, este CD transmite-nos alguma da magia que se viveu na Bob Shop nesta noite. Se mais não faz, é porque nenhum disco pode reproduzir o que se experimenta ao vivo e “in loco”. Os nomes envolvidos bastariam para escolher este disco da portuguesa Clean Feed sem o “picar” primeiro: Campbell “estagiou” na Cecil Taylor Unit, no David Murray Octet e em várias formações de Billy Bang, o que diz muito sobre o seu estatuto, Whitecage andou com Paul Bley e foi uma peça fundamental da Galaxie Dream Band de Gunter Hampel, Joe Fonda tocou com luminárias como Anthony Davis, Leo Smith e Anthony Braxton e Grassi já teve como companheiros um Paul Smoker, um Herb Robertson, um Burton Greene e um Wilber Morris, membros da Po Band. Pelos trajectos adivinhados com a associação a tais nomes, seria legítimo suspeitar que a música deste quarteto é comemorativa do free jazz da geração de 70, prática de resto muito em voga nos dias que correm, mas nada de mais errado. A Nuband continua onde o free ficou, e retoma algumas linhas de orientação históricas do jazz, pelo que se verifica com as referências do bop e do pós-bop volta e meia adoptadas. Reprinted with permission. Copyright © 2006 Rui Eduardo Paes. All reviews written by Rui Eduardo Paes:
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Steven Loewy for All Music Guide When this was recorded, the Nu Band was, in fact, new, this CD documenting the group's third concert, according to Robert Iannapollo's detailed liner notes. While there are many notable moments from this live performance at the Bop Shop in Rochester, NY, the results are just slightly disappointing, considering the expectations generated from the all-star nature of the players. The music does reveal its full potential on the final piece, the electrifying "One for Hannibal," with some particularly fine contributions from the song's composer, trumpeter Roy Campbell, and from drummer Lou Grassi. The opening "Court Street" takes a while to get going, but its attractively snaky theme serves as a launching pad for a series of strong solos by the members of the group. While here and elsewhere, there is almost a feel of a jam session, the quality of the performers keeps the listener's interest at a high level. Joe Fonda is a tad difficult to hear in the mix, but he is an important element of the group's success, contributing two pieces, holding the bottom with his bass, and adding solid improvisations. Mark Whitecage, one of the most underrated saxophonists of his generation, solos at length with consistently good effect. When the elements coalesce, as they do sometimes, this is a band that is potentially among the best in its field. Reprinted with permission. Copyright © 2006 All Media Guide, LLC and Steven Loewy. All reviews written by Steven Loewy:
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Bruce Lee Gallanter for Downtown Music Gallery The Nu Band is Roy Campbell on trumpets, Mark Whitecage on alto sax, Joe Fonda on bass and Lou Grassi on drums. This is/was a new project for four distinguished downtown giants with long resumes, yet this is only their third gig as a Nu Band. The Bop Shop is a record store in Rochester, NY where numerous bands have played and occasionally recorded, sometimes on their way to a recording session for CIMP. What's interesting is that this new label Clean Feed is based in Portugal. Their set/cd features four long and winding tunes. Mark's "Court Street" opens with some fire-breathing alto from Mr. Whitecage at the opening, soon both horns start flying as the rhythm team gets into a groove and Latiny head appears soon thereafter. Mark takes his time building his solo with its bittersweet (Eric) Dolphy-esque tone — with Lou pushing hard on pounding tom-toms underneath, Roy's solo unfolds in the opposite direction — he fans the flames high at the beginning of his inspired solo and sails down to a softer landing. Lou actually takes a nice yet subtle drum solo which splinters into fragments as the horns come back in a freer, more intense episode — they eventually get back to the head before the tune ends. Joe Fonda's "Fast" is next and it is indeed a quick, tight, difficult piece with intricate parts well handled by all — the amazing rhythm section sets the pace and outlines the challenging hairpin turns as both horns also play their furious parts in and around each other - Joe's bass in the central character that is in constant motion — buzzing, burning, walking at an impossible pace with Lou's drums matching him with equally intricate punctuation until the drums explode in a frenzy of activity In some ways, this piece reminds me of the challenging composing that Anthony Braxton's mid-70's quartet used to deal with. Joe slows it down on his next tune "Gone Too Soon" a sad, slow, requiem for the late, great saxist Thomas Chapin, who Joe used to play with, both of whom are/were Connecticut natives. The piece is mournful, touching, soft and moves in slow motion. Roy's trumpet solo is unaccompanied and filled with an inner flame which burns bright on the final tune and tribute "One for Hannibal" dedicated to the astounding trumpeter and Roy's friend — Hannibal Peterson. The quartet do a marvelous job of capturing Hannibal's burning spirit — Lou Grassi's drums kicking hard as they push Roy's trumpet higher and higher! Mark Whitecage's alto sax continues the vibration as it also reaches for the heavens building and burning and erupting molten spirits! Both horns soon race together, as the skies open up and the sun shines though and the level of intensity reaches its zenith. It doesn't get any better than this! What more can I say?!? Reprinted with permission. Copyright © 2006 Downtown Music Gallery and Bruce Lee Gallanter. All reviews written by Bruce Lee Gallanter:
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José Francisco Tapiz for Tomajazz He aquí a un "all-star" de impovisadores americanos en su tercer concierto como tal grupo (de acuerdo con la información del disco). ¿Qué se podría esperar de dicho encuentro conociendo a sus responsables/componentes? Intensidad, calidad tanto en el ámbito interpretativo como de composición, interacción, diversidad… El disco lo abre Mark Whitecage a solo para iniciar los 20 minutos que dura "Court Street". 20 minutos que sirven para desarrollar unos magníficos solos en un ambiente relajado que finalizan con 4 minutos de interacción entre los cuatro músicos. Diferente es "Fast". Como su nombre indica es rápida, pero no sólo eso: es intensa hasta el paroxismo… impresionan los gritos del contrabajista empujando a sus compañeros a tocar a una velocidad endiablada. "Gone Too Soon" está dedicada al saxo alto Thomas Chapin. Nuevamente tranquilidad y relajación. Para terminar "One For Hannibal", cercana a la tradición del free (Albert Ayler y sus marchas características) y la improvisación. Una reunión de grandes músicos cuyo resultado no desentona de lo esperado. Reprinted with permission. Copyright © 2006 Tomajazz and José Francisco Tapiz. All reviews written by José Francisco Tapiz:
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Mark Corroto for All About Jazz (as part of a Clean Feed label profile) This live session for the Nu Band finds a new (sorry 'Nu') quartet of veteran jazz improvisers making inventive music together. Although not household names in mainstream circles each player has established himself as an exceptional voice in the improvising community, Roy Campbell with his Pyramid Trio, Other Directions In Music, and more recently on Matthew Shipp's Thirsty Ear projects. Mark Whitecage's Saxophone and clarinet work and Lou Grassi's drumming have been thoroughly documented on the improvising label CIMP and bassist Joe Fonda has been an anchor for many Anthony Braxton projects. Together the quartet draw upon their collective experience to keep the music energized. Campbell and Whitecage's trumpet and saxophone anthologize the spirit of Ornette Coleman/Don Cherry nicely without being derivative. Campbell's take on modern music is to link free jazz with hard bop for an accessibly outward sound. His bandmates comply to keep the music moving along within each composition's framework. Highlight here is the final track "One For Hannibal," with Campbell opening with his trumpet gymnastics before the band slashes free with energized bursts of crowd-pleasing soloing. Reprinted with permission. Copyright © 2007 All About Jazz and Mark Corroto. All reviews written by Mark Corroto:
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Quotes "Even without the knowledge that this is only the band's third time together, you can sense the spirit of discovery and exploration present. There is also a tangible reverence for tradition, too, particularly in "Gone Too Soon" — Fonda's heartfelt memorial to Thomas Chapin — and Campbell's dedication to Hannibal Marvin Peterson. Above all, what you sense here is the language shared by the four musicians, made all the more expressive by the distinctive accents and cadences of the various players. Like the Art Ensemble of Chicago, the Nu Band makes music that sounds more like conversation than performance." — James Hale, Coda "This disc holds some first class freebop marking the recording debut of a promising group on the horizon." — Larry Hollis, Cadence Source: JAZZLOFT. |
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