| Discography of Joe Fonda | 2003 |
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Lineup
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* recorded live at The Bop Shop, Rochester, NY on April 7, 2003
** recorded live at the Unitarian Meeting House, Amherst, MA on April 5, 2003
*** recorded live at The Chicago Cultural Center on April 12, 2003
Released by Konnex Records [KCD 5141]
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CD Reviews
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By Budd Kopman for All About Jazz Live recordings are the next best thing to being there, and The Nu Band Live is a blistering "set" made up of tracks from three different days (three out of the five performances come from the same day). The premise of the set is to present the period before, during, and after 9/11 in music. Needless to say, the music is very emotional, and at times it can be frightening. Stylistically, this quartet can easily be compared to The Fringe in that there's a lot of freedom within an atmosphere of close listening and cooperation. The first three tracks each refer to the same theme or vamp, which is melodically and harmonically simple, allowing for maximum freedom to move away from and come back to it. "Like A Spring Day" implies the perfect weather of a September day. The hard boppish theme produces a feeling of the natural bounce of walking down the street. The pulse comes and goes; drummer Lou Grassi is superb and always busy. Mark Whitecage has a huge, forceful sound that gets more emotional as he goes, with Grassi following. The theme reappears and then bassist Joe Fonda plays an amazing bowed solo with harmonics, until the drums start making sounds underneath and the bass starts growling ominously, implying danger. "Ballad of 9-11" starts off with soft percussion, low bowed bass, and what sounds like flute (although no one is credited for that instrument): the calm before the storm. Roy Campbell takes a solo on flugelhorn as a regular beat and bass vamp start. The softness of the flugelhorn is very effective as it floats above the soft repeated bass and drum figures, creating tension. The intensity gradually builds as Grassi plays a straight-driving deep rhythm while Campbell plays mournful plunger mute. Whitecage now takes up the theme, clearly projecting danger ahead. Then Grassi explodes, creating a towering wall of sound that he maintains for seven unbelievable minutes while Whitecage and Campbell play a rising line; Grassi keeps the tsunami ever rising, then crashing in his solo. This is simply an extraordinary display of stamina and intensity, brought to a sudden stop and leading to "Prayer, Contemplation and Meditation," which references "Autumn Leaves." The peace, sadness, and calm mixed with desolation are quite dramatic after what has just transpired. One might ask whether the music stands on its own without the "program notes." My answer would be yes, despite the fact that you cannot un-ring the bell. As individuals, Whitecage, Campbell, Fonda, and Grassi take chances and lay themselves out there, but they are always listening to each other. The proceedings have a structure that can only come from rehearsal and the band members knowing and trusting each other. Words like exciting and dramatic hardly describe this music's overall effect. Put this on and be prepared to be swept away. Reprinted with permission. Copyright © 2006 All About Jazz and Budd Kopman. |
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By Chris Kelsey for JazzTimes This is a solid if ever so slightly disappointing album by a quartet of top-of-the-line New York-based free jazzers: Mark Whitecage, saxes and clarinet; Roy Campbell, Jr., trumpet and flugelhorn; Joe Fonda, bass; and Lou Grassi, drums. While graced with the sort of exalted creativity and professionalism one would expect, the project is compromised by a less-than-optimal recording quality as well as a lack of direction that often typifies the music of cooperative jazz bands. The album was recorded live, probably using a stereo mike connected to a DAT machine or some other portable device. The mike picks up too much of the room, resulting in a distant, overly reverberant sound. Grassi is particularly ill-served. No free jazz drummer makes more creative use of his kit's low end. The boomy recorded sound obscures the crispness of his tom-tom work, robbing his playing of its characteristic clarity. Direction is another problem, owing perhaps to the fact that each member contributes compositionally. Put any one of them in charge-or have them play totally free-and this group could burn down an asbestos factory. As it is, there seems to be an overabundance of mutual deference. There's plenty to sink your teeth into, but the results aren't quite as good as you'd expect, given the talent involved. Source: CD Reviews section from the July/August 2005 issue of JazzTimes All reviews written by Chris Kelsey: |
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25 July 2005 by Dan Rose for One Final Note Caught a review of this session in a "major" jazz magazine. The gist was great performances, but overall the thing had the feel of performers who wander into the session to play together for the first time. I understand the complaint. Putting four musicians together who've never played together, no matter how great they may be, can be less than the sum of the parts. A performance or two might stand out, but the whole is marred by the tentativeness of getting to know each other on the fly. Picture four guys standing around at a party, each feeling the other for connections and/or jockeying for dominance. Transfer that picture to music and that's the expectation in my head before I shoved the disc into the machine. No spoiler: I (they) could not have been more wrong. The Nu Band, first off, are an ongoing affair. They exist in the real world, not just in some play-when-we-can netherworld. Mark Whitecage plays saxes and clarinet. Roy Campbell, Jr. blows the trumpet and flugelhorn. Joe Fonda strums the bass and Lou Grassi hits the drums. Each composes a tune or two for this occasion. The sounds they make do a wonderful job of balancing traditions. There's the inner space of free playing mixed (quite successfully) with the groove and swing of jazz past. Four of the five tunes are in that vein. The beginning involves a slow accumulation of sounds from the various musicians. These sounds swirl and scrape until, as if conjuring some jazz specter, they move together and form a groove or melody. They swing, solo, and swing some more. Each member more than holds his own. There's soul and sting in Campbell's expression as notes blur and fuzz. What's on his mind and heart move through the horn fully formed. Whitecage has an edge, a piercing-through-the-veil quality. There's also a sense that each note, even in frenzied flurry, has a place, is there for an expressive reason. When the two interlock, be it in harmony or dissonant twine, the combo makes the heart pulse. The rhythm section of Fonda and Grassi swings, scrapes, and rumbles beneath and above the horns. Both use their instruments in full regard of their sonic potential, spilling out a plethora of sounds. The fifth track bears special mention. It's called "Four of Them"; the four in question are key members of the present government administration. This is spoken word set to music using extended dinosaur metaphors and humor to drive home the point that our beloved president is a dangerous and foolish man. Certainly stands out in comparison to the rest of the session and probably not everyone's cup of political tea, but effective nonetheless. To answer my woefully erroneous expectations (and fellow listener's charges), these are musicians in the highest order of conversation. They speak, squabble, and dance. There's none of the thud or monotony of four guys just holding time. There's movement, expression and something real unfolding before the ears. Furthermore, the ability to hold tradition and experiment in balance reveals the strength and history of a working group. This is exciting stuff and should not be missed. Reprinted with permission. Copyright © 2006 One Final Note and Dan Rose. |
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December 5, 2005 by Ken Waxman for Jazzword JOHN LINDBERG - Winter Birds - Between the Lines BTLCHR 71203 NU BAND - Live - Konnex KCD 5141 Variations on a quartet theme, the different strategies working bands put across depending on whether they're involved in a live or a studio situation are illustrated by these CDs. Recorded on gigs in Rochester, N.Y., Amherst, Mass. and Chicago, LIVE showcases extended five performances from the all-star Nu Band quartet that allow its veteran members extensive space in which to let loose. On the other hand, WINTER BIRDS captures the quartet of bassist John Lindberg, with as stellar a line-up, working in a studio date that followed 13 European concerts in 15 days. Playing nine of the bassist's tunes and one written by flautist Steve Gorn, the CD recreates in a studio the tightness of the touring quartet. Although Lindberg is known as a founding member of the String Trio of New York (STNY) WINTER BIRDS reveals his more instinctive side that isn't always notable in STNY's chamber setting. Here he's aided by brassman-educator Baikida Carroll, who plays trumpet and flugelhorn, always-inventive percussionist Susie Ibarra, who over the past decade has ratcheted beats for musicians as disparate as microtonal composer Pauline Oliveros and New Thing throwback tenor saxophonist David S. Ware. Wildcard is Gorn. A jazz clarinetist and soprano saxophonist most of the time, he adds his elegant bansuri or virtuoso bamboo flute patterns to a coupe of tunes. Considering his timbres have been used by traditional South Asian ensembles and pop singers like Paul Simon and Richie Havens, Gorn's ethereal tones add a certain otherworldliness to the compositions. Powerhouse drummer Lou Grassi and bassist Joe Fonda, who have worked with nearly everyone on the so-called downtown scene, take care of the ever-shifting rhythms, on the extended originals on LIVE. Front-line, reedist Mark Whitecage and trumpeter and flugelhornist Roy Campbell, who move in circles around bassist William Parker, are easily a match for the Lindberg band's trumpeter and woodwind player. Beginning with five fast-moving miniatures, WINTER BIRDS allows Lindberg to show off his command of archaic slap-bass while the others surround him with sluicing soprano sax lines, hocketing near-baroque trumpet fills and lightly stroked percussion. Similarly "Siladette Awakening" and "The Chicken Fix" revel in exotic texture and instrumental interface. Moderato, the latter mixes barrelhouse and freebop. Ibarra's bounces and rolls back up Lindberg's high-pitched resonation, whinnying runs from the trumpeter and hard-bitten notes from the soprano saxophonist. The former tune, written by Gorn, floats on irregularly pulsed drums and traverse strums from the bassist. Double- stopping and in double counterpoint, they extend a faintly exotic line over which the horns hang emphasized and blended notes like brightly-colored washing drying on a clothes line. Gorn's multihued bamboo flute timbres show up most prominently on "Ether", as his Carnatic-style resonation meet closely positioned, gamelan-like responses from Ibarra. Fluttering bird-like melodies expended from the North Indian flute also play a part in "Resurrection of a Dormant Soul", described as a composition of spiritual affirmation. Lindberg's string snaps and sul tasto raps on the bass's ribs and belly join Ibarra's press rolls and cymbal taps to give the piece its initial percussive flavor. But after the bassist extends his bow angling for maximum sound variation, a contrapuntal Tarantella-type air is advanced by flutter-tongued clarinet and brassy trumpet. Gorn's later switch from trilling and fluttering clarinet to more delicate bamboo flute doesn't upset the dancing theme either. Thematic in parts, the Nu Band's creations include Campbell's "Prayer, Contemplation and Meditation" and Grassi's "Ballad of 9-11". As heartfelt as the emotions may be from the brassman who leads the Third World-oriented Pyramid Trio, the former unfortunately drags on at too great a length. Harmon-muted trumpet tones and prosaic clarinet lines limit, rather than illuminate the theme. Even Fonda's strummed guitar-like bass portion is too carefully measured. Surprisingly - considering the subject matter - "Ballad of 9-11" comes off better. Sonorous arco bass and ethereal, rococo flute state the initial theme, giving way to a Campbell solo that moves from whinny, half-valve work to soft cries. Later Whitecage reveals a surprisingly smooth Benny Carter-like alto tone that finally roughens with slurs and overblowing. Extending a constant rhythm, the composer, in concert with Campell's broken chords, directs the piece to a somber conclusion. Except for an extended jape against the mendacity of the Bush cabinet on "Four of Them", the other inside-outside pieces unroll in fairly standard form, with the horns marking the heads, followed by the tunes' opening up for extended solos. On Whitecage's "End Piece" for instanced, the drummer's spectacular percussive romp could easily got him hard-bop gigs in the 1960s. In between a theme statement with treetop-high brassiness from Campbell and a final mid-range saxophone reprise, Grassi uses bass flams, cross-sticking, cymbal cracks and rim-shot elaborations to make his points. Multi-functional, he stokes the kit more than he pummels it. Showpiece is the more than 17-minute "Like a Spring Day", which seems to introduce shout choruses almost as soon as there's a theme statement. Following flutter tonguing from the trumpeter on top of roistering and flapping drum beats, the composer condenses swooping bird-like slurs and trills and a touch of circular breathing into a burst of glossolalia. Fonda then advances the tune with double-stopped bowing, which skitters down to multi-tonal arco sweeps and bass note undercurrents. After he reprises the melody one more time with high-pitched strokes, the bassist slides down to mellow double-stopping, unearthing textures that sound like wet fingers rubbed against the side of a balloon. Conclusively, the piece is wrapped with a darting brass/reed unison that echoes similar dual strategies from Donald Byrd's trumpet and Gigi Gryce's alto saxophone circa 1959. Impressive for it's individual showcases, LIVE could have used more tightening and editing to make it better - but isn't that true for most live recordings? More focused without being precious, WINTER BIRDS is an altogether memorable listen, overshadowing the other disc in comparison. Still either CD should appeal to listeners familiar with the work of any or all of the eight players. JOHN LINDBERG Winter Birds Reprinted with kind permission of the author. Copyright © 2006 Jazzword and Ken Waxman. All reviews written by Ken Waxman:
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By Jeff Stockton for All About Jazz The Nu Band is not so much a pianoless quartet as it is four players with distinctive voices who engage in creative collective improvisation. Each band member contributes (at least) one composition and each tune spurs the musicians toward inspired interplay. You can hear echoes of trumpeter Roy Campbell's work with Other Dimensions in Music and the Pyramid Trio, drummer Lou Grassi's Po Band and bassist Joe Fonda's collaborations with saxophonist Mark Whitecage in the Fonda/Stevens Group. Whitecage has performed with everyone who's anyone on the New York improvised jazz scene, yet remains underrecognized. His soloing on "Like a Spring Day" and quot;Ballad of 9-11quot; is full-bodied and thoughtful, while on Campbell's poignant "Prayer, Contemplation and Meditation" Whitecage's clarinet is the smooth finish to Campbell's sharp mute. Live closes with Fonda establishing himself as the group's conscience with "Four of Them", a combination of skronk and spoken word that names names. This article first appeared in All About Jazz: New York. Reprinted with permission. Copyright © 2006 All About Jazz and Jeff Stockton. All reviews written by Jeff Stockton:
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Bruce Lee Gallanter for Downtown Music Gallery This is the second superb disc from the Nu Band, a downtown all-star quartet featuring Mark Whitecage on alto & soprano sax & clarinet, Roy Campbell on trumpet, flugel & flute, Joe Fonda on contrabass and Lou Grassi on drums. 'Live' consists of five pieces recorded at three locations during their tour in April of 2003. Nu Band's first disc [Live at the Bop Shop, Rochester, NY] was released by Clean Feed and was recorded at the Bop Shop in Rochester, NY, where three of these pieces were also recorded. Each member of the quartet composed a piece here, Whitecage contributed two. Mark's lovely "Like a Spring day" opens and has a fine, memorable melody with long, excellent solos from Roy, Mark and Joe (on bowed bass). The great rhythm team, Joe & Lou, swing powerfully together, locked intricately, both supporting the horns as well as blending the rhythm as one force. "End Piece" is an incredible, freer piece that begins with an explosive drum intro and soon swirls freely with inspired playing from all members. Roy's "Prayer, Contemplation and Meditation" is a solemn and enchanting ballad, exquisite and quite lovely with some swell muted trumpet from Roy. The final piece is an extremely effective work of political commentary called "Four of Them" by Joe Fonda, with an illuminating spoken intro by Joe and some great angry music from the quartet. Roy Campbell's hilarious spoken word section closes this piece and is a perfect ending for a most impressive offering from the Nu Band. Reprinted with permission. Copyright © 2006 Downtown Music Gallery and Bruce Lee Gallanter. All reviews written by Bruce Lee Gallanter:
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Roberto De Virtis for Altrisuoni Di questi tempi si fa un gran parlare dell'epopea del free jazz. Si discute se quell'avventura si sia conclusa, se abbia esaurito la sua spinta, se si sia trasformata in qualcos'altro. Alcuni sostengono che tutto sia finito con l'esaurirsi dei grandi movimenti di protesta per i diritti degli afro-americani negli anni '60, altri che il fenomeno sia andato ben oltre l'aspetto dell'impegno politico. Probabilmente hanno ragione tutti e nessuno. A me interessa far notare che oggi, nel mare del conformismo mediatico che ci opprime addormentando le coscienze e che spesso stende la sua ombra anche sul jazz , è ancora possibile fare della musica una forma d'arte non astratta ma calata nel mondo in cui viviamo. Per questo dobbiamo ringraziare musicisti come Mark Whitecage, Roy Campbell Jr., Joe Fonda e Lou Grassi: essi rappresentano al meglio la cosiddetta 'avant-garde', quel tentativo di spingersi - appunto - in avanti nell'esplorazione del territorio musicale (cosa che troppo spesso in molti dimenticano di fare, adagiandosi su soluzioni di comodo) e di essere in "prima linea" nella difesa della libertà d'espressione. Essi sono liberi pensatori oltre che liberi musicisti e in quanto tali non la mandano a dire anche su temi di scottante attualità come la guerra in Iraq. La Nu Band, il sodalizio nato nel 2000, si esprime ai massimi livelli dal vivo e "The Nu Band Live" coglie i quattro musicisti nel pieno del loro vigore espressivo. I tre brani registrati al "The Bop Shop" di Rochester riassumono l'atmosfera di densa concentrazione che si è creata: in "Like a Spring Day" i quattro musicisti si muovono in una situazione di eccitante interazione, con i fiati a dialogare tra di loro, Grassi è dinamico e incalzante e Fonda stratosferico nell'uso dell'archetto; desolazione, rabbia e frustrazione si mescolano nell'omaggio di "Ballad of 9-11", dedicata alle vittime del massacro delle Twin Towers mentre sentimenti di commozione, amore e compassione animano compostamente il bellissimo 'inno' "Prayer, Contemplation and Meditation". Completano un'opera certamente importante il 'chaos' creativo di "End Piece" (scritto da Whitecage) e l'aspra denuncia da parte di Joe Fonda dei 'dogs of war', dei personaggi dell'amministrazione americana che hanno voluto a tutti i costi l'inutile e drammatica guerra in Iraq: "Four of Them" inizia con una 'cacofonia bellica' la cui inevitabile conclusione è l'estinzione della razza per colpa di quelli che nei libri di storia verranno ricordati come "terribili dinosauri". Reprinted with permission. Copyright © 2006 Altrisuoni and Roberto De Virtis. All reviews written by Roberto De Virtis:
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