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The Fonda/Stevens Group - Parallel Lines - Music and Arts Recording

The Fonda/Stevens Group serves up a characteristically ambivalent sound on the 1997 studio recordParallel Lines.On one hand, the quintet deftly handles structured straightahead material; but on the other, it yields at the slightest opportunity to collective improvisation. Bassist Joe Fonda stands at the crux of the group--interacting with drummer Harvey Sorgen in a potently rhythmic role (check out their duo performance midway through the tune “Waltz”), as well as interdigitating with pianist Michael Stevens in a strikingly intuitive fashion to help define the group's harmony.On this relatively early Fonda/Stevens Group performance, the FSG is a quintet, including saxophonist Mark Whitecage (who subsequently departed the group) and trumpeter Herb Robertson (who yielded the trumpet chair to Paul Smoker on the 2000 releaseLive At The Bunker). The three “Q” pieces at the core of this recording offer the most intense and extensive group improvisation. Stevens!'s piano work becomes more dynamic and abstract, with attendant runs and clusters. Whitecage serves up the undulating, pulsing improvisations that have become his trademark. And Robertson pops in and out with a fractured, edgy counterpoint. These improvisations get to the core of what Fonda refers to in his liner notes as the “element of unpredictability.” And since these five players have the collective experience required to negotiate this realm without getting lost,Parallel Linesends up mostly successful--more so because of the group interaction than because of the virtuosity of any individual player.

The Fonda/Stevens GRoup - LIVE AT THE BUNKER (Leo Records) - The Fonda/Stevens Group

"The Fonda-Stevens Group" is arguably one of the finest and hardest working modern jazz outfits in the business. And while "Leo Records" is synonymous with producing improvised, free - jazz and music that is largely unclassifiable, the label generally skirts the bleeding edge of what some refer to as - new music. Therefore, this quartet's new recording titled,Live At The Bunkermarks a slight yet welcome shift in strategy for this legendary UK-based label.
The quartet opens this set with soulful balladry on the piece titled, "For Us" as trumpeter Paul Smoker exudes heartfelt lines in conjunction with pianist Michael Jefry Stevens' velvety undercurrents. However, the musicians pull a 360 degree turnaround on the second track, "Borrowed Time" which is marked by Smoker's genial muted trumpet lines, linearly performed unison choruses, engaging call and response improv and a brief swing motif. On this piece, the band prominently exhibits the virtues of being in synch, as there is little margin for error amid these odd-metered rhythms, cleverly constructed themes and intricately executed passages. Yet the band also excels at integrating a loose vibe which affords the soloists ample breathing room for reinventing the compositional subject matter.
Bassist Joe Fonda and drummer Harvey Sorgen anchor the intense momentum for the soloist's climactic choruses and catchy melodies on "Don't Go Baby", whereas the quartet finalizes the brisk proceedings with the gospel induced "Oh, Lord, It's Nice To Sit On Your Porch Today". Here, the band pursues crashing cadenzas along with Stevens' lush interludes and Smoker's deviously constructed yet altogether playful lead soloing. Without further ado,Live At The Bunkeris a magnificent release and a late entry into this writer's hypothetical top ten list for 2000. Folks, modern jazz doesn't get much better than this!
~ by Glenn Astarita, All About Jazz

The Fonda/Stevens Group, "TRIO" on Nottwo Records

A nice live set, recorded in 2006 at the Alchemia in Krakow (Poland), showcases the translucent jazz perspective of pianist Michael Jefry Stevens and bassist Joe Fonda, who penned three tunes apiece in this CD; for this particular event they were helped by Harvey Sorgen on drums. Stevens declares himself as more and more worried about the state of our planet's health, at the same time being convinced that music on the level of excellence might actively contribute to a betterment of the perceptiveness of the ones who can be reached by it. In that sense, he strives to compose scores as much evolved as he can. His interaction with Fonda is articulated, elaborately branched, the tracks mostly born from ideas that wander around a bass vamp or a brain-retainable chord sequence over which the group develops fine textures of thematic sapience spiced by Tyneresque progressions and concretely palpable lines able to transcend the canons of swinging expectancy. Fonda's interrelation with Sorgen is also noteworthy, the couple establishing a very lively duo conversation in "From the Source", while the most intense Stevens moods have to be individuated in the reminiscent melancholy of "The Search". The unit looks just handsome, complete self-command and reversing currents of conscious communication at the basis of a record that's as easily drinkable as fresh water despite its insightful correspondences.
~ Massimo Ricci - Touching Extremes (January 2008)

The Fonda/Stevens Group, "TRIO" on Nottwo Records

This is the tenth disc from the great Fonda/Stevens Group, but it is the first one to feature them as a trio. This disc was recorded live at The Alchemia in Krakow, Poland in April of 2006. I was intrigued to see that this is a rare trio date for these three musicians who have been playing together for some 20+ years, but rarely as a trio. There is no leader in the trio, as each member is integral to their sound and explorations. "Soon to Know" (by Mr. Fonda) seems to feature the amazing Joe Fonda, whose bass is central to the way this trio expands and contracts and moves. There is a constant throb going on, with the piano and drums slowly swirling around him majestically. Mr. Stevens' "The Search" has a delightful theme that is difficult to forget, with Michaels' piano playing dreamy, elegant waves that fade into the distance. Joe begins "Andrea" by plucking his strings in a unique way, making way for Michael's exquisite piano - the piece is quite lovely and sublime. "From The Source" features Michael's piano playing flurries of notes as Joe holds down the center until the trio starts swirling quickly together, the tempo speeding up and slowing down together. Throughout this disc, one gets the feeling that this trio has been together for a long time since they consistently flow together as one formidable force. Joe Fonda's bass continues to blow me away as he reaches for the impossible and achieves what he strives to do.
~ Bruce Lee Gallanter for Downtown Music Gallery (June 2007)

The Fonda/Stevens Group, "TRIO" on Nottwo Records

Recorded live in Poland and for a Polish jazz record label, this is a passionate set by one of the great (and slightly under-recognized) modern jazz outfits in the business. And while the group moniker remains the same, this is the piano trio variety sans the services of trumpet great Herb Robertson. Nonetheless, it's a democratic engagement where memorable melodies and choruses attain equal ground with dense frameworks and endearing improvisational forays.
Pianist Michael Jefry Stevens steers the rhythm section thru bumpy roads and disparate angles via hammering block chords and asymmetrical rhythmic flows. Tonal contrasts abound, where bassist Joe Fonda occasionally uses his bow to augment an abundance of motifs that stop, restart and spawn anew. Expansive and emotive, the trio seamlessly morphs staggered free-form dialogues into spiraling motifs and buoyant swing vamps. And on the piece titled "The Search," the they integrate a bouncy groove into a boisterous bop vibe.
Stevens executes a series of dreamy chords atop the rhythm section's peppery undercurrents during "The Path," which is comp that segues into a powerful jazz-waltz movement. Nonetheless, surprises abound here as this recently issued album looms as one of the top jazz-trio performances of 2007. In addition, and unlike many other units, it's quite discernible that the artists combined efforts yield an elevated sense of unity and insight.
~ Glenn Astarita for Jazz Review

The Fonda/Stevens Group, "TRIO" on Nottwo Records

It’s difficult to either match or deny the hyperbole with which Leo Feigin presented the 2000 release of the Fonda/Stevens Group’s Live at the Bunker. Calling it the recording he’d been waiting for for 20 years, Feigin called it “a truly jazz CD … They wrap up all the influences, all the sounds that came before, then they roll the universe into a ball and make it new!”
It’s bold talk, even if it was a bit of PR hype, but the description still holds true seven years later. The trio on their new disc of the same name (recorded live in Poland in 2006) is rounded out by drummer Harvey Sorgen and without a horn they boldly move into the well-trod world of the piano trio, only to find a new path to cut. It’s essentially mainstream music, confounded only by being so fresh. Michael Jefry Stevens’ piano playing is not far removed from McCoy Tyner, or Dave Brubeck for that matter, with blocky chords underlying repeated melodies. Joe Fonda pushes harder, slapping his bass and mimicking vocals with his bow. Though he’s more known as a prog drummer, Harvey Sorgen keeps pace here, backing the never-jarring, never-predictable compositions of the leaders.
~ Kurt Gottschalk - All About Jazz

The Fonda/Stevens Group, Twelve Improvisations

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.
~ by Dennis Hollingsworth - All About Jazz

The Fonda/Stevens Group, Twelve Improvisations

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.
~ by John Kelman

The Fonda/Stevens Group, Twelve Improvisations

Ensemble à la physionomie changeante, The Fonda / Stevens group se faisait trio, en avril 2006, sur la scène de l'Alchemia de Cracovie.

Aux côtés du batteur Harvey Sorgen, le contrebassiste et le pianiste se partagent les titres d'un répertoire piquant, qui commande autant de déconstructions audacieuses que d'exercices de style parfaitement maîtrisés (swing incertain de The Search, orientalisme de Soon to Know, essai impressionniste de The Path).
Bien sûr, il arrive à Michael Jefry Stevens de trop en faire au piano, mais le trio parvient le plus souvent à mettre la main sur une entente rare, d'où partira l'imprécation folle de From The Source ou l'étrange danse qu'est Break Song. Et Joe Fonda, comme à son habitude, de rayonner d'un bout à l'autre d'un concert de plus.
~ November 28, 2007 by Guillaume Belhomme for Le son du grisli

The Fonda/Stevens Group "Forever Real"

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 free form 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.
~ By Glenn Astarita, All About Jazz

The Fonda/Stevens Group, Forever Real (482 Music)

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. Other 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 many free-time episodes that dot the various tracks.
Fonda is a hard-swinging player who balances melodic and supportive 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.
~ Chris Kelsey, Jazz Times (2005)

The Fonda/Stevens Group, Forever Real (482 Music)

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.
~ All About Jazz by By Ernest Barteldes

The Fonda/Stevens Group, Twelve Improvisations

A team for over 20 years, pianist Michael Jefry Stevens and bassist Joe Fonda do this by not only insisting that all the sounds on their CD be completely improvised, but by adding another voice to the line-up. French alto and baritone saxophonist Daunik Lazro is one of that country's foremost experimenters, working in contexts as varied as solo recitals and bands with saxophonist Michel Doneda and Joe McPhee. Here his unique articulation and sound sources add another dimension to that supplied by the pianist, bassist, long-time drummer Harvey Sorgen, and endlessly inventive trumpeter Herb Robertson, who has worked with Fonda and Stevens in various bands, on-and-off for more than a decade.
At home or abroad, the power of improvised music means that you can be celebratory even in the midst of sorrow.
Alive with a dozen improvisations Fonda, Stevens and crew have more scope in which to exhibit their talents. Additionally, while these may be TWELVE IMPROVISATIONS, they're definitely not 12 pieces of indulged abstraction. Veterans, each member of the quintet knows what he can do, and gets enough space to do it within a group context.
Take, "Distant Voices," at almost 91/2-minutes the longest track. Here modulated stick pressure and knuckle duster rolls from Sorgen lead into ponticello bowing from Fonda and the continuous spew of accented timbres from Robertson. As Lazro adds harmonic color, the trumpeter's lines get more expressive and legato. Soon the brassman is chromatically severing single notes as Stevens accompanies him with church-like low frequency chords. Lazro, now on baritone, smoothly resonates underneath, as Robertson decorates the line with stairstep obbligatos.
The Frenchman's bari can squeal as well as snort as he demonstrates on "Talking Drum", most of which is taken up by Sorgen doing just that. Lazro double tongues searing altissimo squeaks that are later amplified by Robertson's quivering valves. Meanwhile the percussionist resonates, rattles and rolls as if he was playing a bata or a darbuka, using his palms, fingers and palms more than his sticks.
Robertson and he exhibit classic teamwork between brassy triplets and pardiddles and flams on the aptly named "Call and Response". Throughout the CD, the trumpeter seems to be functioning at a level even higher than in years past, having finally exchanged European expatriate life for the United States.
Two example of this are "Extracurricular Activity" and "The Meeting". The former finds Stevens' high frequency, circular piano accents succeeded by split-second, tongue stopping blasts from Lazro and exaggerated wah-wah blowing from Robertson in Clyde McCoy mode.
More serious, the latter sets up a series of meetings among the group members. Concerned with cascading chords and right-handed plinking, Stevens pushing broken note patterns into a swinging centre meets rumbles, glances and bounces from Sorgen. Then Harmon-muted tones from Robertson meet sharp slurs from Lazro's alto, As the trumpeter maintains his feathery timbres, staying concise and concentrated, Lazro moves to split tones and lip vibrations.
Sometimes the sounds move far beyond the expected. Arco bass lines and pronged internal piano string constraint on "In the Distance" are succeeded by what could be electro-acoustic oscillation and distortion mated with buzzing brass tones. As Fonda cushions everyone with arco bustles both high-pitched and lower, Lazro adds altissimo flutter tonguing. Finally the resolution appears in Stevens rubbing the internal piano strings with a light, cylindrical object as Robertson continues twittering short phrases on his own, as if he was a homeless person mumbling to himself.
Improvisations also include variations on jazz's bedrock, with "Front and Center" a finger snapping blues piano showcase, complete with rolling drumbeats and walking bass. Andante, Stevens reveals his inner Red Garland and Fonda displays a bass line that would do Milt Hinton proud. Only at the very end does Lazro contribute dissonant split tones and irregular vibrated slurs and cries.
~ Review by Ken Waxman

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens group, co-led by bassist Joe Fonda and pianist Michael Jefry Stevens, usually record in a quartet format, with drummer Harvey Sorgen and trumpeter Herb Robertson. This time, the addition of alto and baritone saxophonist Daunik Lazro makes for a rousing quintet date. Twelve Improvisations may be more "In" than some avant-jazz that Leo records, but it is still plenty challenging and filled with musical rewards.
In just four minutes, "Ostrich" encapsulates both the lyrical and aggressive sides to the group's playing. An edgy opening, filled with questing free jazz colloquoy, is followed by a more ruminative slow section, rife with bent notes from both Lazro and Robertson and punctuated by Sorgen's heavy fills.
"Electricity" features some truly inspired playing from Stevens, encompassing both intricate polytonal progressions and noise-based free play in the same piece without the juxtaposition proving curious. Robertson has a singular style too, often simmering edgily beneath the music's surface, only to leap violently into the foreground at strategic points in the piece. "In the Distance" features mysterious and supple arco playing from Fonda, who creates a whole range of extended technique-filled sounds. He is abetted by Stevens's ruminative treble solos, accumulating dissonances in a flurry of activity. "Talking Drum", predictably, is a showcase for Sorgen's multi-limbed polyrhythms; while he uses a drum set instead an actual talking drum, his playing remains most communicative, entering into a dialogue with a soaring, stentorian line from Robertson.
Lazro is an exciting soloist. His playing on "Front and Center" covers the saxophone's entire range, from shrieking caterwauls to fleet arpeggiations. Robertson matches him squall for squall, while Sorgen engages in some soloist punctuations of his own. Stevens's playing remains ever-versatile, alternating between comping changes and fistfuls of chromatic clusters. Improvisations like this are born out of a special musical rapport between musicians who really listen and react well to each other. Whether in a quartet or quintet line-up, the Fonda/Stevens Group engage in a musical ESP that is wonderful to behold.
~ by Christian Carey, Splendid Reviews, July 5/2004

The Fonda/Stevens Group, Twelve Improvisations

I've always associated the Fonda/Stevens Group with sprawling spontaneous compositions that could veer from righteous free jazz squalling to ironic renderings of maudlin folk tunes. One of the most enjoyable concerts I saw last year was the quartet (Joe Fonda, bass, Michael Jefry Stevens, piano, Herb Robertson, trumpet and Harvey Sorgen, drums) at Edgefest in Ann Arbor, MI. I had my elder teenage son with me and, though no fan of free jazz, he was entranced by watching them fashion a symphony for four right before his eyes and ears.
On Twelve Improvisations Daunik Lazro on alto and baritone saxophones joins that quartet for a series of impromptu etudes. The group's usual melodic predilections are most evident on "Electricity", where Stevens plays rhapsodic piano punctuated by jabs into the bass register. Sorgen's tom-tom tattoo urges the pianist to develop long, swirling runs. Robertson then adds a longing line against Lazro's strangled saxophone runs. Most of the improvisations' focus is the extended techniques that inform the group's usual work, though serving as just part of their musical arsenal. On "In the Distance", Fonda and Lazro's ventures into the upper register, paired with Stevens' ventures inside his piano, sound like electronic distortion. On "Dante's Inferno", Robertson and Lazro reach down to plumb the deepest parts of their horns.
Not that the band forgets to swing: The piano trio track "Front and Center" swings easily and freely. Robertson develops an intense ballad statement over the first 7:30 of "Distant Voices", and the ensemble winds down the track with a loping medium ballad groove. Interestingly, Lazro has no part on "Front" and is a minimal presence on "Distant". He tends to drive the proceedings outward. "Bariphonics" has him all alone, at his most introspective with 1:45 over breathy, overblown baritone saxophone. This track gives a sample of the element he brings to the session that helps shape it into a fascinating addition to the Fonda/Stevens discography.
~ by David Dupont, One Final Note, 29 October 2004

The Fonda/Stevens Group, Twelve Improvisations

Even though Michael Jelry Stevens and Joe Fonda have performed together lor 20 years, The Fonda/Stevens Group didn't start until 1993, and now Twelve Improvisations, though their seventh, is their first CD of beginning-to-end improvisation. When touring France, the group took advantage of the opportunity to record with French saxophonist Daunik Lazro in Poitiers. Obviously, Lazro understood the absolutely free improvisational nature of The Fonda/Stevens Group. Lazro and trumpeter Herb Robertson fall into the visual nature of "Ostrich" from the start as they, through bent tones and scampering lines, suggest an unpredictability of movement, a sonic bobbing and darting offsetting its hesitancy and quietude. Stevens commands "Electricity," though, from his initial cadenza of thunderous bass notes and sprinklings of upper -register clusters animated by Harvey Sorgen's rolling drum work before setting up rumbling and punctuating background behind a muted long¬-toned Robertson and an unrestrained Lazro of loosened-embouchure overtones in an abandonment of conventional tonality. "Talking Drum" is notable, not only because of drummer Harvey Sorgen's ever-present pulse tuned on the tom¬-toms, but also because of Lazro's explorative work on the baritone saxophone, its range no impediment to his movement over the entire range of the instrument-and beyond. Rising lrom its bottom tones to an altissimo exclamation to a mid-range drone as the volume rises and constricts, Lazro takes command of the piece with apparent abandon, applying infinitely varying pitch and voice to the talking drum. On "Bariphonics," a relatively short solo track, Lazro takes a different approach, using the multi-phonic potential of the instrument to investigate sonority, trance-like, without meter or outside harmony, something like a didgeridoo. And sure enough, "Bariphonics" does precede "Trance," the suggestion of hypnotic submersion in the music becoming a thematic fact, as Stevens entrances with ruminative dissonant block chords before the rest of the group enters with equally subdued, unhurried enchantment before the unexpected fadeout. Though the finite nature of magazine space prohibits covering all 12 of the improvisations in sufficient detail, Twelve Improvisations is a notable achievement by The Fonda/Stevens Group. It seized upon the opportunities presented by their European tour and allows listeners for the first time to hear them in an entirely improvisational setting without notation or preconceptions, but rather with spur -of-the-moment interactivity that will never be played the same way again.
~ by Bill Donaldson, Cadence Magazine, April 2005

The Fonda/Stevens Group, Forever Real (482 Music)

Das Quartett aus dem Pianisten Michael Jefry Stevens, dem Kontrabassisten Joe Fonda, dem großartigen Trompeter Herb Robertson und dem Drummer Harvey Sorgen ist ein Garant für Modern Jazz als selbstverständlicher Weltsprache, die wir morgen alle sprechen könnten, wenn nur die herrschenden Kräfte nicht weit besser damit fahren würden, das Kollektivbewusstsein in einem Murmeltierloop zwischen den 1850er und 1950er Jahren gefangen zu halten. Es scheint zu genügen, die aufblickenden Schafe mit technischen Gimmicks und pauschaltouristischem Herrenmenschenillusionen bei Laune zu halten. Forever Real schweift immerhin in die 1970er/80er ‚Zukunft‘ mit einem Piano als bürgerlichem Nestflüchter und der urbanisierten Eleganz und Eloquenz transafrikanischer Populärmusik mit Jazz-Doktorhut. Fonda & Sorgen bilden eine ähnlich mobile Einsatzgruppe wie Duvall & Rosen. Stevens gelingt mit seinen ‚Glockenschlägen‘ beim Auftakt des von Robertson dann ganz versonnen gesummten ‚A Question of Love‘ ein besonders markanter Moment, dem sich mit der gestopften Trompetenquirkiness im melodiösen ‚Relentlessness‘ gleich ein weiterer Höhepunkt anschließt, bei dem Fonda, mitgerissen von seiner eigenen Komposition und bassistischen Baumwollzupferleidenschaft, mitscattet. Zum Abschluss erfolgt bei ‚Cotton‘ durch das Gastspiel von Napoleon Maddox mit seinem Human-beat-boxing & Poetry-Rap sogar ein Zeitsprung ‚vorwärts‘ in die 80er, in denen freilich die Wake-up-Calls von LeRoi Jones und die Harlem Renaissance nachhallen. Aber auch die sind für die meisten ‚Zeitgenossen‘ noch ‚Zukunft‘.

~ Rigo Dittmann - Bad Alchemy

The Fonda/Stevens Group, Twelve Improvisations

"Arguably one of the finest working units in modern jazz, this particular CD
is somewhat notable due to the addition of top European improviser,
saxophonist Daunik Lazro. The Fonda/Stevens Group is known for meshing
structured compositions into an improvisational format. However, the mission
here is solely based upon free-form explorations via a sequence of
mini-motifs initiated upon the musicians’ dialogues and loose methodologies.
On this effort, the band merges dissonance with an energized line of
thought. It’s mainly about synergy and vast expressionism rolled into one
concise little package."
~ All About Jazzby Glenn Astarita

The Fonda/Stevens Group, Twelve Improvisations

Twelve Improvisations (Leo 394) Featuring Herb Robertson on trumpets, Daunik Lazro on alto & baritone saxes, Michael Jefry Stevens on piano, Joe Fonda on bass and Harvey Sorgen on drums.
This is the fourth Fonda/Stevens disc on Leo, besides the other half dozen discs which include one or two of the same folks, so you know Leo Feygin does really love these dudes. Both Leo and myself are great fans of the collective of great musicians. The current version of the band includes trumpet ace Herb Robertson and on this release special guest French saxist Daunik Lazro.
Right from the very first note, the sparks are flying, yet there is cautious
undercurrent as the quintet quietly weave fragments together. Although this music is completely improvised, there is consistent dialogue, duos turn into trios as constant connections are made. I caught Mr. Lazro on a couple of occasions at Victo and am always impressed by his thoughtful playing, once with Michel Doneda and earlier this year playing solo baritone. All members of the quintet get their chance to shine on different pieces, as they unfold. You can tell that these guys have been at it for a long while, since the communication sounds telepathic at times, when they all come together, anticipating each other. The ever amazing Herb Robertson sounds extraordinary throughout, balancing his trumpet talents, with mutes and other distinctive sounds, this is a perfect group for him. Superb!
~ Downtown Music Gallery

The Fonda/Stevens Group, Live at the Bunker (Leo Records)

"The Fonda-Stevens Group" is arguably one of the finest and hardest working modern jazz outfits in the business. And while "Leo Records" is synonymous with producing improvised, free - jazz and music that is largely unclassifiable, the label generally skirts the bleeding edge of what some refer to as - new music. Therefore, this quartet's new recording titled,Live At The Bunkermarks a slight yet welcome shift in strategy for this legendary UK-based label.
The quartet opens this set with soulful balladry on the piece titled, "For Us" as trumpeter Paul Smoker exudes heartfelt lines in conjunction with pianist Michael Jefry Stevens' velvety undercurrents. However, the musicians pull a 360 degree turnaround on the second track, "Borrowed Time" which is marked by Smoker's genial muted trumpet lines, linearly performed unison choruses, engaging call and response improv and a brief swing motif. On this piece, the band prominently exhibits the virtues of being in synch, as there is little margin for error amid these odd-metered rhythms, cleverly constructed themes and intricately executed passages. Yet the band also excels at integrating a loose vibe which affords the soloists ample breathing room for reinventing the compositional subject matter.
Bassist Joe Fonda and drummer Harvey Sorgen anchor the intense momentum for the soloist's climactic choruses and catchy melodies on "Don't Go Baby", whereas the quartet finalizes the brisk proceedings with the gospel induced "Oh, Lord, It's Nice To Sit On Your Porch Today". Here, the band pursues crashing cadenzas along with Stevens' lush interludes and Smoker's deviously constructed yet altogether playful lead soloing. Without further ado,Live At The Bunker is a magnificent release and a late entry into this writer's hypothetical top ten list for 2000. Folks, modern jazz doesn't get much better than this!
~ By Glenn Astarita, All About Jazz

The Fonda/Stevens Group, Live at the Bunker (Leo Records)

"Not the retro bullshit, not the nauseating smooth jazz, not the young-lions crap, but the real jazz: the way jazz music should have been had it not been high-jacked (sic) by big business, glossy magazines, brainless DJs, prostitute journalists, and brainwashed festival promoters." Ouch! So writes Leo Feigin in one his more, shall we say, ebullient Press Releases (prefaced by the way with the words: "I, Leo Feigin.. hereby confirm" etc.). As a declaration, it certainly stands out from the run-of-the-mill hyperbole that normally constitutes Press blurbs, though if I were Joe Fonda or Michael Stevens I'm not sure how I would feel. Certainly, this is a damn fine album, a superb live recording (complete with audibly clunking, whooshing piano pedals) made in yet another European jazz club going by the name of Bunker, this time at Bielefeld in Germany, and I'm in broad agreement with Feigin that jazz today should be moving in this general direction, i.e. be unafraid to work with emotionally direct material and strong group compositions while at the same time being open to "outside" playing, but certain points of Leo's release text bear closer scrutiny in relation to the music they aim to sell. Firstly, as one of the "prostitute journalists" (though I generally exchange my paltry writing talents for copies of the discs I review rather than for other more visceral pleasures), I feel somewhat compelled to respond. "Retro bullshit" needs some definition; who has Leo got in his sights here? Wynton Marsalis again? Hasn't the poor bugger suffered enough? Sure, he's cruising for a bruising with the sheer volume of reactionary statements he makes, but I don't doubt for a minute that he'd be happy to have penned most of the tunes featured on this album: "Borrowed Time", "Don't Go Baby" and the closing joyful "Oh, Lord, It's Nice to Sit on Your Porch Today" could easily pass as Marsalis compositions, with their harmonically and rhythmically sophisticated heads, equally at home with the conventions of gospel-inflected 50s/60s hard bop. Of course, these boys don't sound like Wynton's crew at all - Paul Smoker's trumpet attack is nowhere near as perfectly pretty as Marsalis' (thankfully), and there's more of a dangerous edge to the rhythm section too. They're certainly not "young lions", but what's wrong with young lions and why is what they do "crap"? If Leo's thinking of Joshua Redman, James Carter, Cyrus Chestnut and their ilk, I think his taste buds need a little refreshing - these cats may not be at the cutting edge of modernity, but they are doing strong, honest work and are bringing a new young public to jazz music (anyway, go ask Cecil Taylor what he thinks of James Carter..). As for "nauseating smooth jazz", well, I think that all our readers will agree that the likes of Kenny Gee won't be making it to their Year 2000 Top Ten, but I would add that one or two recent Leo releases (naming no names) have been rather.. soporific.
As for brainless DJs, the much-hyped Acid Jazz phenomenon (now admittedly extremely dull compared to what it was a decade ago) did a hell of a lot to bring jazz into the earholes of a young public weaned on the inanities of HipHop (didn't DJ Gilles Peterson say at the outset that his dream was to see Pharoah Sanders at Number One in the charts? Surely a noble goal..), and also led to several fascinating developments such as Coleman's M-Base (which in fact pre-dated the Acid Jazz boom but benefited enormously from it) and its divergent spin-offs by the likes of Greg Osby, Graham Haynes and Gary Thomas. Sure, the Guru Jazzmatazz series isn't my idea of Great Black Music Ancient to the Future, but if it sends kids out to buy copies of "Tauhid" and "A Love Supreme", who am I to bitch?
I sense behind the rhetoric about glossy magazines and big business a certain sadness that his magnificent label hasn't blasted off in the way that Manfred Eicher's ECM has; despite a wonderful roster of major names - Evan Parker, Mat Maneri, Anthony Braxton, Marilyn Crispell, Eugene Chadbourne (all of whom also record for a multitude of labels) - and a cluster of figures faithful to the imprint - Ivo Perelman, Dominic Duval, John Wolf Brennan, Carlo Actis Dato - not to mention a fountain of magnificent new talent (Feigin is still one of the sharpest talent-spotters around), Leo still hasn't had the equivalent of a "Köln Concert" or an "Officium" to hang on his wall in platinum. And it's probably just as well he hasn't, as it has left him free to continue to organize his releases according to the criteria that count the most: musical substance and artistic integrity. "Live at the Bunker" is absolutely solid, heartfelt, good music, and I strongly recommend it to anyone, including Wynton Marsalis and Brad Meldhau fans (I'm sure they'll thoroughly enjoy it).
~ by Dan Warburton, Paris Transatlantic

The Fonda/Stevens Group, Live at the Bunker (Leo Records)

Man, it’s hard to believe that Leo’s up to the 300s already, and with an amazingly consistent track record, as has the group here. “For Us” sounds like a standard, and it should be. Starting with a Messiaen-like fluttery piano intro, follwed by romantic chords, a strong bass line and Smoker smartly skittering into the verge of off-key, this ballad grips immediately and sustains. There’s an awkward applause fade. In a different manner, they continue with “Borrowed Time,” a free improv which turns into what seems composed, each phrase tauntingly repeated or mutated by the next. This kind of call and response, using lots of space, teases the way lovers do when they know just how to touch each other, and just when to... pull back. “Don’t Go Baby,” by contrast with the opening pair, is merely good. “Circle” continues that way, but a few minutes in they hit a stride: Stevens arpeggiating and Fonda walking askew, and hear Smoker go off on his fierce free thing. The head returns, and I wish it were all so free, but I have no complaints about the trip, especially as Sorgen takes an expected solo, again using space, changes of pace and texture, to make your ears sit up. At first I thought it a bowed cymbal, but Fonda plays a resiny, itchy sequence at the bottom of the bridge, until they take it again to the head. “Circle,” too, starts off just okay, but they hit a powerful mood shortly, with strong intermingling of lines by the smoldering wah-wah and humanoid voice of Smoker’s trumpet, and the scratch of Fonda’s bass. It and the following two tracks, if you don’t watch the CD counter, are a seamless suite of wonderful jazz and improvisation. (I’ve misfiled my copy of their Leo disc “Haiku,” so I can’t make comparisons.) “Oh Lord...” opens with Smoker playing a gospel dirge, underlined by bass. Stevens’ piano brings a romantic rush of cold air chords in, again with gospelized arpeggios, and Sorgen plays free, both loose and tight: brushes, cymbals and kick. Again, I find the playing and the structure stronger than the writing, especially when a trite piano vamp changes the rhythm, and despite Smoker’s wild wind, hearing these guys sing “Oh Lordy...” makes me cringe. Stevens piano turns admirably Pullenesque, and the deep sonics of the bass and Sorgen’s percussive richness (you can hear the air pressure inside them change with each blow) give you chills. The recording quality is superb, with the piano sounding like a piano, and the Fonda’s various timbres revealed. What is always special to me about Fonda and Stevens is that not only do they “play,” but they infuse it with such joie de vive that you just want to throw their other discs in the machine in turn. As an encore, I played another Fonda reach-to-the-roots, “Down To The Delta,” my favorite track on Live at Brugge on De Werf Records, which gets frequent play in this house. For a special treat, dig Fonda’s 1999 solo bass disc When It's Time on the Belgian label Jazz’Halo.
~ by Steve Koenig, Jazz Weekly

The Fonda/Stevens Group

The Fonda/Stevens Group serves up a characteristically ambivalent sound on the 1997 studio record Parallel Lines.On one hand, the quintet deftly handles structured straighta-head material; but on the other, it yields at the slightest opportunity to collective improvisation. Bassist Joe Fonda stands at the crux of the group--interacting with drummer Harvey Sorgen in a potently rhythmic role (check out their duo performance midway through the tune “Waltz”), as well as interdigitating with pianist Michael Stevens in a strikingly intuitive fashion to help define the group's harmony.On this relatively early Fonda/Stevens Group performance, the FSG is a quintet, including saxophonist Mark Whitecage (who subsequently departed the group) and trumpeter Herb Robertson (who yielded the trumpet chair to Paul Smoker on the 2000 releaseLive At The Bunker). The three “Q” pieces at the core of this recording offer the most intense and extensive group improvisation. Stevens!'s piano work becomes more dynamic and abstract, with attendant runs and clusters. Whitecage serves up the undulating, pulsing improvisations that have become his trademark. And Robertson pops in and out with a fractured, edgy counterpoint. These improvisations get to the core of what Fonda refers to in his liner notes as the “element of unpredictability.” And since these five players have the collective experience required to negotiate this realm without getting lost,Parallel Linesends up mostly successful--more so because of the group interaction than because of the virtuosity of any individual player.
~ Parallel Lines Review

The Fonda/Stevens Group - Live at Alte Paketpost -

This is the 9th fantastic disc from the great Fonda/Stevens Group and it features Herb Robertson on trumpet, Michael Jefry Stevens on piano, Joe Fonda on bass and Harvey Sorgen on drums. This great date was recorded live in Rottweil, Germany in December of 2003. Jeez, what a fine quartet this is! Fonda and Stevens split the compositions here, with three songs apiece. Michael's "The Stalker" opens with superb repeating line theme, with Joe's ebullient bass, Harvey's flowing drums, Michael's dynamic piano and Herb's fluttering trumpet sailing over the top. Joe's powerful bass is always at the center, he sings along softly, joyously holding things together. The mighty Herb Robertson starts off "There's a Very Fine Line..." with some of his crazed trumpet smears and intense sputters, as the quartet fly freely circling one another. Oddly enough, the group sings the one line of the song's title to a funky beat - getting the audience to clap along, but soon start swinging furiously, whoa! The unstoppable and unbelievable Her Robertson takes one of those over-the-top solos that would scare most other normal trumpet players. Joe Fonda takes one of those magnificent bass solos on "From the Source", which segways into "Relentlessness", a freer piece with Joe's inventive bass at the center, as the others swirl tightly around him. Michael's "Kultur Shock" has a delightful, more straight ahead theme with some fine piano from Mr. Stevens and another swell trumpet solo from Herb. The groovy disc ends with a hilarious song called "Memphis Ramble", a great, bluesy ditty in which Joe Fonda tells/sings the story of Michael's move down south. It makes a perfect ending for this joyous gig and this grand disc.
~ Bruce Gallanter, Downtown Music Gallery

The Fonda/Stevens Group, Forever Real (482 Music)

"...co-led by a bassist, Joe Fonda, and a pianist, Michael Jefry Stevens, both of whom have been involved in a variety of different bands and projects over the years and in each of them, whether it’s been a band that either of them has led or simply collaborated on, they have played really important roles. Joe Fonda is a strong-willed bassist...he pushes the music because he has such a command of not only his instrument but the freer jazz/freer improvising idioms. He can really go out there with a soloist without losing a sense of the pulse. He’s really been solid for a long time. What I like especially about this group is the fact that with those avant-garde/free improvising tendencies, they don’t necessarily have to stay out there all the time, they weave back and forth and intertwine more straight-ahead playing with more free playing and I think it works extremely well."—Neil Tesser, Listen Here! (5/7/05)
~ Neil Tesser

The Fonda/Stevens Group - Live Review from Esslingen

Romantisches und Abstraktes vereint

"The Fonda/Stevens Group" jazzte in der Dieselstraße

Esslingen - "I think I have two sides: one is romantic - like Chopin. The other is abstract - but even
though it's abstract, I think it's still romantic." Dies erklärt Michael Jefry Stevens, ein zu zwei
musikalischen Seelen in seiner Brust bekennender Jazz-Pianist. Letztendlich sollen aber für ihn
Romantisches wie bei Chopin und Abstraktes keine Gegensätze bilden, sondern fusionieren. Der im
New Yorker Stadtteil Brooklyn lebende Stevens gastierte nun in einer zusammen mit dem Bassisten
Joe Fonda angeführten Gruppe in Esslingen. Besonders beglückt äußert sich Fonda in einem
gleichfalls im Internet (www.allaboutjazz.com verbreiteten Zitat, daß er
einträchtig zusammen mit Michael Jefry Stevens eine Formation leiten könne. Dessen stete
Weiterentwicklung und sein Beitrag für die Musik seien "unermeßlich".

Freilich fehlte in der Dieselstraße nun der ursprünglich angekündigte Altsaxophonist Mark
Whitecage, welcher in Deutschland vor allem durch seine Zusammenarbeit mit Gunter Hampel und
John Fischer bekannt wurde - der auch auf Klarinette und "sound sculptures" spezialisierte
Avantgardist hatte jedoch bereits Anfang des Jahres verlauten lassen, daß er die Europa-Tournee
nicht antreten würde. Mit dabei war jedoch der namhafte agile Trompeter Herb Robertson, vielfach
Partner von dem Saxophonisten Tim Berne. Am Schlagzeug saß - wie vorgesehen - der filigran und
aussparend handwerkelnde Harvey Sorgen.

Den eher bedächtigen Bill Evans und den rasanten Cecil Taylor nennt Stevens, der zuweilen auch
ins Innere des Flügels greift, gleichermaßen als seine pianistischen Vorbilder. Jedoch ziemlich
traditionell startete das Konzert. Die Stevens-Komposition "Don't Go, Baby, Don't Go" schien
ohrengefällig dem Hardbop-Stil verpflichtet; seine Ballade "For Us" begann gemütlich mit
gestrichenem Baß und weichen Filzschlägel-Tupfen auf Trommel und Becken, um dann vehement
mit einem energisch-eruptiven Trompetensolo von Herb Robertson, der gerne diverse Dämpfer,
"quetschtende" halbe Ventile und eine rauhe Tongebung verwendete, zu enden.

Harmonisch gebundene und deutlich konzipierte Stücke wechselten mit atonalen Improvisationen ab
- so kam bei dieser Art von Programmzusammenstellung keineswegs Langeweile auf. Im Ensemble
entfaltete sich da eine enge musikalisch-rhythmische Motivverzahnung, und auch bei subtilen
Geräuschaktionen herrschte eine aufmerksame Kommunikation. Da küßte Robertson seine
Trompete, wie dies einst der virtuose Blechbläser Al Hirt bei "Sugar Lips" praktizierte (auch der neue
türkische Pop-Star Tarcan gelangte mit derlei schmusenden Schmatzereien in die Charts).

Viel Spaß bei seinen deutschsprachigen Ansagen und im Musizieren zeigte Joe Fonda - besonders,
wenn er parallel zum Instrumentenspiel sang und doppelgriffig seine Saiten glissandieren ließ.
Quartett anstatt Quintett: "The Fonda/Stevens Group" ließ die Sache relaxt und multi-stilistisch
angehen.

Am 21. Mai tritt Michael Jefry Stevens nochmals in Mittleren Neckarraum an. In einer Veranstaltung
von und im Jazzclub Ludwigsburg wird hierbei der Pianist mit neubesetztem Trio spielen.

Hans Kumpf, Mai 1999
Text & Photographie

Kumpf's Kolumnen

~ By Hans Kumpf

The Fonda/Stevens Group, Forever Real (482 Music)

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.
~ Bruce Gallanter - DMG

The Fonda/Stevens Group, Forever Real (482 Music)

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.

~ by Ryan McDermott (2005) "One Final Note"

The Fonda/Stevens Group - Interview with Joe Fonda

Talk to bassist Joe Fonda for even a short time and you get caught in the whirlwind. Conversation flows easily from one topic to another: from Anthony Braxton to Duke Ellington to Marvin Gaye or from Paul Wolfowitz to the best wine that goes with salmon. Fondaâ€™s one of those incessantly curious people who seems to want to know about everything. "Nuclear Joe is what I call him," says trumpeter Herb Robertson, his bandmate in the Fonda/Stevens Group.
Fonda tackles his musical projects with the same wide-ranging enthusiasm. The Nu Band, a group with Mark Whitecage, Roy Campbell and Lou Grassi, has released The Nu Band On Tour (Konnex) and is touring Europe. Conference Call, a group with Gebhard Ullmann, Michael Jefry Stevens and George Schuller, has a tour of Portugal in March and a new release on 482 Music. The FAB Trio, with jazz legends violinist Billy Bang and drummer Barry Altschul, is lining up a small American tour in the spring. The documentation of Joe's ongoing work with Xu Fengxia, a master of the traditional Chinese stringed instrument, the guzheng, continues with a new recording (the superb Separate Realities on the Belgian W.E.R.F. label) as a trio with Dutch saxophonist Andre Goudbeek. The duo will be at the Guelph Festival this fall. We can't leave out his recent work in both a duo and with a trio behind singer Katie Bull, one of the few of the new crop of jazz singers who matter.

But the project that Fonda tends to be most effusive about and that seems to be closest to his heart is the Fonda/Stevens Group, a band he's co-led with pianist Michael Jefry Stevens for 12 years. "It's amazing, we've been able to share the bill 50/50 and run a band for 12 years and still keep it happening. And there aren't many people that can do that." Perhaps the most frustrating thing is that for a band that's put out consistently good records (their eighth release, Forever Real on 482 Music, is due shortly) and regularly tours Europe (15 tours in the last 8 years according to Stevens) it's probably least-known in their homeland. As Robertson says, "We're probably the most unheard American band in America."

The band rose out of the ashes of two groups in 1992. â€œJoe and myself were members of two bands, the Mosaic Sextet and Mark Whitecage's Liquid Time band. Dave Douglas [trumpeter in both bands] decided he wanted to go out on his own. That was around 1991. It took another year and Joe and I had been playing and rehearsing together and we decided to start another band. We wanted a band to explore our compositions. I think you get comfortable with people you know and like. We had a good time in all the other bands so we decided to co-lead this one."

“Most cats are leaders and they run a band. But not too many people can co-run a band and make it last.”
Which, to those familiar with the two leaders, might raise some eyebrows. The two are like night and day or perhaps more accurately like Laurel & Hardy, two opposed characters who complement each other perfectly. Fonda assesses it like this: "Michael is like Mr. Organized. I'm more like Mr. Idea Man. We balance each other out in that sense but it also means we bump heads a lot. It's a lot of give and take." Stevens describes the relationship in his characteristic deadpan manner, "I'm tall, he's short." Asked to elaborate, "He's very vivacious and I'm very reserved. I can be kind of shy and like to be alone and he likes to be around people. But it seems to work."

Musically, the two, while not opposites have very different approaches. "Michael is a songwriter. I'm into structure and concepts. My first approach to a piece is rhythmic. Michael is a true piano player. Harmony is the most important thing to him. Me, I don't get to harmony until the last part. Michael once said about my pieces, "Joe's an architect."

According to Stevens, "Im a romantic and he's more of an experimenter. My music is all about melody, harmony and Joe's is more conceptual. I think he learned a lot from Braxton. I'm trying to create things that are beautiful and that's not what Joe's trying to do. He's trying to do things that are interesting and make you think." But rather than sounding like two different bands, Fonda/Stevens Group's music seems to spring from one well.

This poses interesting strategies for the band's other two members. Drummer Harvey Sorgen sees it like this, "That's why I really dig playing in this band. They're such different characters, players and composers. The way I've approached the material over the years is to try to push Michael's music out a bit and maybe pull Joe's music in a little bit. It becomes more of a cohesive statement by the band as opposed to this is a "Michael Stevens" song and this is a "Joe Fonda" song. So they're not radically different from each other. And over the years, the way they've each written material for the band and the way the band's played the material its gotten more I don't want to use the word coherent but more intertwined."

Their forthcoming release, Forever Real explores that same dichotomy inherent in Fonda's and Stevens' compositions. It also continues the group's penchant for throwing the listener a curve. In the past they've had guest members with the group (e.g. saxophonist Daunik Lazro) and abandoned the composition format entirely for one album, 12 Improvisations. On Forever Real, they have Cincinnati-based hiphop artist Napoleon Maddox guesting on two tracks. It was Fonda's idea: "You know for me I've never been into separating music. For me it's always been part of the same continuum. I've always been able to hear it. You know, I can listen to Mozart or Stockhausen and it's always made sense. That's just the way I've always been. Personally, I think that's the way it should be. I've never thought about separating it. Why would you want to?"

It's that type of receptiveness that makes this band such a winning proposition. And its that type of openness among all four members but especially between the leaders that's made Fonda/Stevens a band that has lasted. Fonda sums it up, "We're so different and we've all bumped heads from time to time but we've kept it together and shared the responsibility. I don't know, maybe it's just some kind of spiritual thing that we can do that. Most cats are leaders and they run a band. But not too many people can co-run a band and make it last."

Recommended Listening:
â€¢ Mosaic Sextet - Mosaic Sextet (GM, 1988-â€™90)
â€¢ Anthony Braxton - Charlie Parker Project 1993 (hatART, 1993)
â€¢ Joe Fonda/Michael Jefry Stevens Group - Live at the Bunker (Leo, 1999)
â€¢ Joe Fonda - Full Circle Suite (CIMP, 1999)
â€¢ Conference Call - Variations on a Master Plan (Leo, 2001)
â€¢ F.A.B. Trio - Transforming the Space (CIMP, 2003)

~ Robert Iannapollo

The Fonda/Stevens Group, Twelve Improvisations

Building on jazz's standard two-horns-and-rhythm combo format, these CDs impress by showing how the players manage to make things new by tweaking sounds to match their own aspirations.
A team for over 20 years, pianist Michael Jefry Stevens and bassist Joe Fonda do this by not only insisting that all the sounds on their CD be completely improvised, but by adding another voice to the line-up. French alto and baritone saxophonist Daunik Lazro is one of that country's foremost experimenters, working in contexts as varied as solo recitals and bands with saxophonist Michel Doneda and Joe McPhee. Here his unique articulation and sound sources add another dimension to that supplied by the pianist, bassist, long-time drummer Harvey Sorgen, and endlessly inventive trumpeter Herb Robertson, who has worked with Fonda and Stevens in various bands, on-and-off for more than a decade.

At home or abroad, the power of improvised music means that you can be celebratory even in the midst of sorrow.

Alive with a dozen improvisations to Melford's eight, Fonda, Stevens and crew have more scope in which to exhibit their talents. Additionally, while these may be TWELVE IMPROVISATIONS, they're definitely not 12 pieces of indulged abstraction. Veterans, each member of the quintet knows what he can do, and gets enough space to do it within a group context.
Take, "Distant Voices," at almost 91/2-minutes the longest track. Here modulated stick pressure and knuckle duster rolls from Sorgen lead into ponticello bowing from Fonda and the continuous spew of accented timbres from Robertson. As Lazro adds harmonic color, the trumpeter's lines get more expressive and legato. Soon the brassman is chromatically severing single notes as Stevens accompanies him with church-like low frequency chords. Lazro, now on baritone, smoothly resonates underneath, as Robertson decorates the line with stairstep obbligatos.
The Frenchman's bari can squeal as well as snort as he demonstrates on "Talking Drum", most of which is taken up by Sorgen doing just that. Lazro double tongues searing altissimo squeaks that are later amplified by Robertson's quivering valves. Meanwhile the percussionist resonates, rattles and rolls as if he was playing a bata or a darbuka, using his palms, fingers and palms more than his sticks.

Robertson and he exhibit classic teamwork between brassy triplets and pardiddles and flams on the aptly named "Call and Response". Throughout the CD, the trumpeter seems to be functioning at a level even higher than in years past, having finally exchanged European expatriate life for the United States.

Two example of this are "Extracurricular Activity" and "The Meeting". The former finds Stevens' high frequency, circular piano accents succeeded by split-second, tongue stopping blasts from Lazro and exaggerated wah-wah blowing from Robertson in Clyde McCoy mode.

More serious, the latter sets up a series of meetings among the group members. Concerned with cascading chords and right-handed plinking, Stevens pushing broken note patterns into a swinging centre meets rumbles, glances and bounces from Sorgen. Then Harmon-muted tones from Robertson meet sharp slurs from Lazro's alto, As the trumpeter maintains his feathery timbres, staying concise and concentrated, Lazro moves to split tones and lip vibrations.

Sometimes the sounds move far beyond the expected. Arco bass lines and pronged internal piano string constraint on "In the Distance" are succeeded by what could be electro-acoustic oscillation and distortion mated with buzzing brass tones. As Fonda cushions everyone with arco bustles both high-pitched and lower, Lazro adds altissimo flutter tonguing. Finally the resolution appears in Stevens rubbing the internal piano strings with a light, cylindrical object as Robertson continues twittering short phrases on his own, as if he was a homeless person mumbling to himself.

Improvisations also include variations on jazz's bedrock, with "Front and Center" a finger snapping blues piano showcase, complete with rolling drumbeats and walking bass. Andante, Stevens reveals his inner Red Garland and Fonda displays a bass line that would do Milt Hinton proud. Only at the very end does Lazro contribute dissonant split tones and irregular vibrated slurs and cries.

If the CD has a weakness, it's that the final track founders on slow moving hard handed descending piano tones and a whiny, vibrated trumpet egress. Considering what went before the CD should end with a flourish not a whimper.

Still one lapse can be forgiven.

~ Ken Waxman

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Teatar &TD, 7. travnjaa
10.04.2006. 11:39. Jazz
Muzejski primjerci u odrazu þivota

Koncert sredovjeènog trija odrþan 7. travnja u Polukruþnoj dvorani Teatra &TD, èija pojava koketira s onom muzejskih primjeraka, trajao je veã dobrih pola sata kad smo ih zatekli u Stevensovoj ekoloðki motiviranoj "What About The Future". Kontrabasist Joe Fonda, klavirist Michael Jeffry Stevens i bubnjar Harvey Sorgen, iz modernog post-bop ugođaja, krenuli su u kolektivku: svaki je improvizirao u svom ritmu. Prvi je krenuo sitni Fonda, grèeãi udove i poginjuãi glavu nad glomaznim glazbalom, lupavði o pod desnom nogom, prelazeãi iz slappane middle teksture u guđenje debelih struna èak i ispod kobilice, u visoke i jedva èujne dionice. Sorgen je ocrtavao svoj tom-tom zvuk, pritajen kao i Stevens, koji je zvuk obogaãivao izvan zvukovlja koncertnog klavira. Puãkao je povrh grliãa boèice s vodom. Nagrađeni su pljeskom, no suzdrþana energija tek se poèela militi prema publici na skladbi "Fast", u kojoj je Sorgen podebljao ranije zacrtano i uletio u up-tempo swing, te nakon promiðljenog Stevensonovog sola radije uronjenog u koketiranje s tradicijom nego li u eruptivno isijavanje sirove snage, pomalo odleãen od bubnja zapjevao kao promukli Sinatra. Uhvatili smo samo stihove "I am back/ In Town/ Again", a tomovi su dobili svoje. Odjek publike tu ih je toliko zatekao da je Stevens u konferansi rekao kako je ostao bez rijeèi, moþda i zato ðto je tijekom poljskog odjeka europske turneje uglavnom puno puðio i pio, zbog èega je ostao bez glasa. Do kraja prvog seta, zaplovili su vodama reggaea, Fonda i Sorgen su pjevali stih "Oh Lord, It's Nice To Sit On Your Porch Today", bað onako artensembleovski. Stevens je svako malo imao duhovite intervencije u improvizaciju, poigrao se frazom iz gospel-bluesa "Moanin". Pljesak koji je uslijedio, uvelike ih je iznenadio, stvarno su ostali bez teksta.

Do poèetka drugog seta, prodavali su CD-ove snimljene za Leo Records, i utrþili dobru svoticu. Zanimljivo je da im je ovo prva turneja kao triju, spremaju se snimiti trio CD, iako se Fonda i Stevens druþe i muziciraju joð od 1984.

U drugom su setu krenuli sa skladbom "Kultur Shock", koju je klavirist napisao kad se iz metropolitanskog New Yorka zbog þene preselio na jug, u Memphis, u Tennesseeju. Kad su u deset minuta od poèetka, iscrpli sve ðto su glazbalima mogli natuknuti, Fonda i Sorgen su zatrèkarali prostorijom, radili osmice torzom po zraku i na licu mjesta improvizirali pregovor dvoje ljubavnika o razlozima preseljenja. Duhovitim aluzijama sumnjièavog jazzera na nasljeđe kulta Gracelanda, Fonda se prepirao sa Sorgenom, koji je ðeretskim cerekom odgovarao iz pozadine. U nastavku, na "From the Source", Sorgen je veã trèkarao oko bubnjeva i naznaèivao ritmièke fraze, priredivði jednu malo drukèiju predstavu, onu u kojoj jazz uistinu postaje odraz þivota, a od autorske uronjenosti u vlastitu poetiku postaje i zabavan. Nastavili su s "Andrea", posveãenoj prijateljici iz Munchena, ali u "Borrowed Time" Sorgen je izveo call n response performans uz veliku pomoã publike. Naime, krenuo je mahati palicama nad bubnjevima, ne slijeãuãi na opne, i ubrzo je iz publike dobio odgovor zvuka. Nastavio se igrati, i iz redova dobivao sve viðe i viðe zvukova, odgovarajuãi samo na one koji su pogodili atmosferu skladbe, tako pet minuta upijavði pozitivu. U ostatku veèeri izveli su nove skladbe "Memphis Ramble", "Break Gong" i najavili povlaèenje. Stevens je za kraj odsvirao monolog "For Us", na kojoj su mu se tek na dvadeset sekundi prikljuèili oni njegovi, manje-viðe u duhu.

Na putu kuãi sluðali smo novog Branforda Marsalisa, na Stojedinici. Tko zna, sudeãi po èuvenom, moþda je Marsalis tu svoju tzv. glazbu veã ustupio za reklamu od Libressea?

~ Vid Jeraj

The Fonda/Stevens Group "Memphis" on Playscape Recordings. Herb Robertson on trumpet, Harvey Sorgen on drums, Joe Fonda on bass and Michael Jefry Stevens on piano.

The Fonda Stevens Group is a band that's been around for more than 20 years in various line-ups, but always with the solid foundation of Joe Fonda on bass and Michael Jefrey Stevens on piano, and most of the time with Harvey Sorgen on drums and Herb Robertson on trumpet. The great thing about the band is its human warmth and musical openness. They can play AACM-like music ("In The Whitecage"), post-bop ("For My Brother"), blues , Stanko-esque melancholy ("Whole Majesty"), free improvisation ("Yes This Is It") as spontaneous chants ("Memphis Ramble"), as long as it sounds well, it is fun, musically entertaining and interesting. The interaction is great, with four musicians who have come to know each other so well that it all sounds so easy and smooth, with shifts and turns being taken almost simultaneously, smoothly, flowing between forms, soloing and group playing, between genres and subgenres, as if the whole jazz catalogue is just there for the taking and seamless improvised integration. True, they stay away from the boundary-shifting approach (don't expect the Robertson you think you know, you've rarely heard him play so "in-side" as here), but the lack of adventure is more than easily compensated by the warmth and musical joy.

~ Stef.blogspot (2009)

The Fonda/Stevens GRoup "Memphis"

JOE FONDA/MICHAEL JEFRY STEVENS GROUP With HERB ROBERTSON/HARVEY SORGEN - Memphis (Playscape 33108; USA) Personnel: Michael J. Stevens on piano, Herb Robertson on trumpets, Joe Fonda on bass & vocals and Harvey Sorgen on drums. Me & fellow employee, Mike Panico, have been playing this promo nonstop since we got it a couple of months ago. It is that good! This fabulous fun-filled ensemble has been around for the more than a decade and has nearly a dozen discs out. What makes this band great is that they can swing their asses off, go out, come back and stop on a dime. Their jubilant spirit is infectious. There are two vocal songs on this disc and both are wonderful & will make you smile! Ever since hearing them play these two songs at Roulette earlier this year, Mike & I have been singing the choruses over & over again, "there's a very fine line between you & me, so don't step on my toes." All four members of this band are gifted musicians and you can tell that this band has been playing together for a long while, they think as one group mind. The other vocal tune has another catchy chorus about "Michael moved to Memphis". This is the one disc that makes me feel so good every time I hear it. Share the joy and get your copy today, don't go astray. Who loves the Fonda/Stevens Group...?
~ Bruce Lee Gallanter, Downtown Music Gallery

The Fonda/Stevens Group "Memphis" on Playscape Recordings

Memphis marks the 25th anniversary of the bassist Joe Fonda and pianist Michael Jefry Stevens' period of collaboration. Their quartet is a fine example of how a long established band can gel without becoming predictable, with many of its moves unforeseeable in advance. This helps to keep the music fresh, but it's the level of collective empathy that often takes it to another level.
This is obvious on "Whale Majesty," which as a model of subtle, veiled interplay that offers marked contrast to a lot of the bluster on offer here. Drummer Harvey Sorgen proves himself to be a master of color after the model of Paul Motian and the late Finnish drummer Edward Vesala, whilst trumpeter Herb Robertson's thin tone sketches small filigrees of sound and Stevens maintains coherence.

"Changing Tides" might almost be the other side of the coin. Robertson is majestic over rhythmic backing that's almost in opposition to his lines, but the band's collective experience and empathetic understanding resolves the resulting dichotomy. When Robertson does get heated it's largely in the interest of taking the music in another direction as opposed to anything more tiresomely egotistical, and when the resulting animation is resolved it's as a result of group endeavor.

"For My Brother" is proof enough that this is a group about more than just kinetic identity. Fonda is lyrical with his bow, as is a muted Robinson, and the unalloyed grace with which the music proceeds is ear food of a high order. Composition and improvisation co-exist in a way that might stem only from the level of mutual understanding these musicians have.

Despite its long existence the group didn't tour in the USA until 2008, although prior to that time it had wowed European audiences. That tour culminated in the recording session of which this set is the outcome and it's clear on "Memphis Ramble" that the group had reached a level of understanding in excess of even its usual working relationship. Funk might not be a quality that immediately springs to mind given the group's usual modern/free jazz stance, but here it is in a form that sounds perfectly natural. Robertson has absorbed the lesson of making notes tell from Miles Davis, and he proves this in his solo; the joyous collective shout of the piece, however, perhaps best sums things up.
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~ Nic Jones - All About Jazz - 9/22/09

Fonda/Stevens Group "Memphis" on Playscape Recordings

The 11th album of their storied 18 year career, Memphis is only the fourth studio recording of the venerable Fonda/Stevens Group, making this release a delightful surprise. Co-led by bassist Joe Fonda and pianist Michael Jefry Stevens, the veteran quartet is rounded out by trumpeter Herb Robertson and drummer Harvey Sorgen. Boasting a collective resume that includes stints with Tim Berne, Anthony Braxton and Dave Douglas, they draw on a wealth of innovative collaborations for their own idiosyncratic explorations.
Splitting songwriting duties, Fonda and Stevens contribute five tunes apiece to the session. Sharing an aesthetic similarity born of their authors' longstanding rapport, these elaborate compositions flow seamlessly from one to another. Skirting the edges of tradition, they employ ambiguous harmonies, modulate time signatures, and incorporate extended techniques without ever completely abandoning conventional forms.

The tender ballad "For My Brother" features Robertson's Harmon-muted horn in a rare Milesian mode, initially suggesting that Stevens might be the more lyrical composer, yet Fonda's subtly dramatic "The Path" offers a bold melody no less romantic. Conversely, Stevens' rousing modal work-out, "Break Song," is as subtly tumultuous as the meandering detours of Fonda's "Looking For The Lake."

A generational link between seminal trumpet innovators (Lester Bowie, Bill Dixon), and the new wave (Taylor Ho Bynum, Nate Wooley) Robertson reveals a wealth of sonic surprises, from the hallucinatory muted slurs of "In The Whitecage" to the blistering tonal distortions of "Yes This Is It!." Despite occasional detours into expressive atonality, Stevens' incisive comping and pirouetting filigrees are decidedly more traditional than Robertson's effusive brass explorations. Providing an unwavering harmonic center, Stevens keeps the quartet rooted.

Eschewing convention, Fonda and Sorgen serve as active participants in the group's dynamic interactions, far removed from their traditional roles as mere timekeepers. Their roiling interplay on such fare as "In The Whitecage" and "Looking For The Lake" is as wily and unpredictable as Robertson's surreal exhortations and Stevens' intervallic runs, while their sweeping pulse on the jazz waltz "Changing Tides" ebbs with the majestic fluidity of its title.

Knitting modernist abstraction to the music's oldest antecedents, the blues-based "There Is A Very Fine Line Between Your Life And Mine" and "Memphis Ramble" feature chanted vocals from the group, conceptually bringing the music full circle.

Imbued with excellent group interplay and an expansive approach towards jazz tradition, Memphis presents the Fonda/Stevens Group in an intimate studio environment with the sonic clarity they rightfully deserve.

~ Troy Collins - All About Jazz

Fonda/Stevens Group "Memphis"

Eighteen years and eleven albums is not bad going for a band roaming that precarious borderline between the mainstream and the avant-garde. And it has been achieved with the same core line-up of the two principal composers, bassist Joe Fonda and pianist Michael Jefry Stevens, together with drummer Harvey Sorgen and trumpeter Herb Robertson. That this well-recorded studio date—recorded at the end of the band's first ever US tour in March, 2008—speaks volumes about where the music finds itself is most welcome.
Everyone, by now, boasts an impressive back catalogue in their own right, but they continue to come together due to what Stevens terms "a bond on the bandstand that allows us to continually experiment and take chances." Not that this is an all-out blowing band; it's more subtle than that. Their inside/outside ethos finds mellow expression in a 60-minute program, comprising five new songs and five reprised from previous discs, stemming equally from the pens of both leaders.

Fonda's opener, "In the Whitecage," dates back to their first release in 1996 and original member reedman Mark Whitecage, making for the knottiest cut, powered forward by ominous cellular motifs from Stevens, and Robertson's pinched trumpet over a lurching rhythm. Elsewhere their experimental tendencies creep up almost unnoticed within what seem relatively orthodox structures, as when time sporadically dissolves on "Looking for the Lake," like a film going in and out of focus.

Even when the charts seem straight ahead they can be subverted by Robertson in particular, who always avoids the obvious route between A and B. Constructed of drones, buzzes and legato slurs, his feature on the loping "Changing Tides" contains very little resembling a conventional trumpet solo. By contrast, Stevens is a melodist at heart. He takes a lovely, bluesy solo break on "Yes This Is It," while his lyrical uncoiling piano solo on "Changing Tides" is especially noteworthy. In the engine room, Fonda and Sorgen know each other inside out by now. They pick up on shifts in rhythm and tempo so smoothly that it's only when paying close attention that their audacious command is fully appreciated.

In among the more oblique arrangements are foot-tappers, like the infectious "There Is a Very Fine Line Between Your Life and Mine" and the down and dirty "Memphis Ramble," which corral some of the "anything goes" feel from live gigs into the studio, complete with raucous vocals (but don't hang up the instruments just yet guys) affirming their warmth and humanity. "Break Song" makes for a driving closer which sums up the merits of this fine disc: intelligent writing, strong solos and lively ensemble interplay.
~ All About Jazz by John Sharpe

Fonda/Stevens GRoup - Live concert review from Spielboden, Austria (October 2009)

Every man for himself, but all together - "The Fonda / Stevens Group" - are entertaining and a good sense of musical proportions, the bassist Joe Fonda and pianist Michael Jefry Stevens, Harvey Sorgen -percussionist and trumpeter Herb Robertson perform a game of musical team, having made music together for over fifteen years in their quartet. Their extraordinarily creative musical communication with each other was spotlighted at the jazz series at the Dornbirn Spielboden experience. A remarkably harmonious basic character and many remarkable improvisational passages that were enlivened mainly by the multi-faceted and yet spectacular play of the trumpeter Herb Robertson.

Jeder für sich, aber alle gemeinsam - „The Fonda/Stevens Group“ - kurzweilig und mit einem guten Gespür für musikalische Proportionen Der Bassist Joe Fonda, der Pianist Michael Jefry Stevens, der Perkussionist Harvey Sorgen und der Trompeter Herb Robertson sind ein eingefleischtes musikalisches Team, musizieren sie doch schon seit über fünfzehn Jahren in Quartettbesetzung zusammen. Ihre außergewöhnlich kreative musikalische Kommunikation miteinander war im Rahmen der Jazz& Reihe am Dornbirner Spielboden zu erleben. Ein auffallend harmonischer Grundcharakter und viele bemerkenswerte improvisatorische Passagen, die vor allem durch das facettenreiche und zugleich spektakuläre Spiel des Trompeters belebt wurden, kennzeichneten die Musik. kulturzeitschrift.at
~ SPielboden Magazine

The Fonda/Stevens Group "Memphis" on Playscape Recordings

Joe Fonda (bass) and Michael Jefry Stevens (piano) have maintained their quartet since 1991, but the band has had most of its success in Europe, where it's toured extensively and released 10 albums. Rounded out by trumpeter Herb Robertson and drummer Harvey Sorgen, the quartet balances time between loose, semi-free moments and gentle ballads, with some effort set aside for grooving riffs. Both leaders take turns writing, and their styles blend more than they contrast.
Most of the time, it works. "In the Whitecage/' a tribute to saxophonist Mark Whitecage, begins with an edgy stop-start structure, and features Robertson in Bill Frisell mode, as if a volume pedal is squeezing and twisting the tone. "For My Brother" presents the other side of the group, where Fonda gets rich, cello-like tones out of his instrument, Robertson blows muted, understated lines, and Sorgen holds everything together with simple accents rather than a steady tempo. "There Is a Very Fine Line Between Your Life and Mine" evokes Sun Ra's group vocals before the solos break free. Another group vocal track, "Memphis Ramble," sounds polite when it should sound raunchy; Fonda's bass gets lost in the mix and the vocals aren't enough to sustain the attitude. Overall a nice if uneven ride.

~ MIKE SHANLEY JAZZTIMES» DECEMBER 2009

The Fonda/Stevens Group "Memphis" on Playscape Recordings

FONDA-STEVENS GROUP MEMPHIS
In The Whitecage; For My Brother; Looking For The Lake; Changing Tides; The Path; Yes This Is It!; There Is A Very Fine Line Between Your Life And Mine; Whole Majesty; Memphis Ramble; Break Song (62.30)

Herb Robertson (t); Michael Jefry Stevens (p); Joe Fonda (b); Harvey Sorgen (d). Rochester, NY, March 2008.

Joe Fonda and Michael Jefry Stevens got together in Mark Whitecage's Liquid Time group back in the early 90s and then recruited the saxophonist for their own outfit. It has been a durable partnership, committed to record 10 times between the original Music & Arts release "The Wish" in 1996 (but including material that went back a couple of years before that) and the unusual "Forever Real" in 2004, which featured "human beat-box" Napoleon Maddox. The Leo releases "Evolution" and "Live At The Bunker" would sit comfortably in anyone's modern jazz collection: elegant, thoughtful music with real muscle and none of the fitful experimentalism that characterises so much new jazz of the period.

"Memphis" marks an epoch in that its recording followed the group's first ever American tour. Its previous road and recording history was largely from the Old World, but a door has opened and the US dates allowed Fonda and Stevens to roadtest new material. As ever, Stevens is the more immediately accessible melodist, delivering an exquisite line on For My Brother and on the (near) title tune Memphis Ramble: he moved to Tennessee seven years ago for family reasons, a situation that doesn't seem to have had any negative effect on the Fonda-Stevens family, and perhaps has even strengthened it. The delightful thing is that each writes so exquisitely for the other. Fonda's intro on For My Brother is rich and resonant and his solo on Changing Tides, another Stevens chart, allows him to show off the same iron fingers that anchored the Braxton Ninetet.

That group was, of course, also extensively documented live by Leo Feigin. Fonda-Stevens' move to Playscape and a studio situation yields probably the best sound we've heard yet from the group. Whitecage moved on 10 years ago, and with just one horn the basic textures are more open. When that one horn is Herb Robertson, and the brass vocabulary extends to dark, breathy smears, squeezed and squelched tones, and high, metallic punctuations, there's no risk of the front line sounding onedimensional. On In The Whitecage, Herb growls away alongside heavy piano accents and Sorgen's accurate drumming, with the bass the most active and propulsive element.

~ Brian Morton - The Jazz Review

Fonda/Stevens Group "Memphis" on Playscape Recordings

Memphis
The Fonda - Stevens Group | Playscape Recordings (2009)

Artisticamente insieme da più di un ventennio, il bassista Joe Fonda e il pianista Michael Stevens danno alle stampe Memphis, un album che richiede una buona dose d'attenzione, viste le diverse soluzioni compositive intraprese e le relative complicazioni estetiche.
Dalla penna dei due prendono vita i dieci originali proposti, cinque a testa, che si evolvono in uno schema molto ampio, privo - almeno in apparenza - di punti di riferimento ben definiti e quindi difficilmente prevedibile. I leader creano musica mettendosi sullo stesso piano degli altri due interpreti, il drummer Harvey Sorgen e il trombettista Herb Robertson, formando un'entità camaleontica.

Da qui si spiegano le asperità dell'iniziale "In the Whitecage" (un autentico disaccordo di suoni), in parte risolte nelle successive "For My Brother" e nella lineare "Looking for the Lake". In parte dicevamo, perché spesso, quando lo sviluppo melodico sembra procedere in discesa verso una forma compiuta, c'è un intervento strumentale pronto a sparigliare le fila, a mettere quel "punto a capo" che cancella ogni convinzione acquisita.

Memphis è un lavoro prismatico, che offre le sue facciate migliori quando è la tromba di un ispirato Robertson a condurre il gioco, mentre cede il passo nei momenti cameristici, privi del giusto nerbo.

Visita il sito di The Fonda - Stevens Group.

Valutazione: 3 stelle
Elenco dei brani:
1. In The Whitecage (5:49); 2. For My Brother (6:33); 3. Looking For The Lake (5:40); 4. Changing Tides (6:34); 5. The Path (5:09); 6. Yes This is It! (4:14); 7. There Is a Very Fine Line Between Your Life and Mine (9:26); 8. Whale Majesty (5:10); 9. Memphis Ramble (8:05); 10. Break Song (5:03).
Musicisti:
Joe Fonda: contrabbasso; Michael Jefrey Stevens: piano; Herb Robertson: tromba; Harvey Sorgen: batteria
~ di Roberto Paviglianiti Commenta - All About Jazz Italia

The Fonda/Stevens Group "Memphis" on Playscape Recordings

It’s amazing to me that the long-standing, top-notch Free Bop
group doesn’t get more run. They’re one of those groups
which, aside from boasting superb individual players, has a group
sound that is emotionally rich, a bit mischievous, and draws from
multiple Jazz idioms in a way that could hardly displease any fan.
I don’t get it. Anyway, this is yet another strong release from a
band you should love. It’s all on display from the opening track,
with excellently playful motivic work from Stevens contrasting
with Robertson’s fussy obsessing over single notes. As Sorgen and
Fonda churn away, trumpet and piano trade places in a spirited
and deeply enjoyable game. They’re in a similarly playful mood on
“Very Fine Line,” which dabbles with a needle-stuck-in-groove feel
before breaking open courtesy of a boisterous frog-mouth trumpet
break that cues up a loping mid-tempo funk and collective vocals
(“don’t step on my toes”). Yet the moods are varied on this record-
ing. There’s the beautiful and slightly elegiac Stevens piece, “For
My Brother,” which has a kind of Evans/Guaraldi rain-soaked feel,
with nice tight mute work from Robertson. Soft lyrical trumpet once
again frames the music on “The Path,” with rests that sound almost
solemn. “Looking for the Lake” is equally serious, but is more of a
neo-chamber piece characterized by insistent, stabbing rhythms that
cross streams until the break into open space; it’s got some mild
dissonance and fractiousness (which Sorgen facilitates really well)
that recalls early Dave Douglas work with Uri Caine. And the band
can also dip into a deep bag of genre affection, warmly getting into a
rolling, Bobby Timmons-ish Gospel fervor on the bustle of “Yes This
is It!” and even coming up with a proper boogaloo on “Memphis
Ramble.” C’mon, what more do you want? These guys are fantastic.

~ Jason Bivins - Cadence Magazine - June 2010

Fonda/Stevens Group "Memphis" on Playscape Recordings

Playscape Records has built a very nice niche for itself as a source of well thought out, open ended modern jazz. This is another fine album, led by bassist Joe Fonda and Michael Jefry Stevens on piano with Herb Robertson on trumpet and Harvey Sorgen on drums. "In The Whitecage" has a deep and ominous melody, before the instruments prodding at the improvisation build to speed on an open ended performance. Fast paced and percussive piano and slurred trumpet compete with urgent drumming. "For My Brother" slows things down to a ballad tempo with lush piano and gentle pinched trumpet. Robertson gets a deep and soulful almost Miles Davis like tone from his trumpet, and lovely piano playing seals the deal. "Yes This Is It" features dark and burnished trumpet with a strong tone backed by deeply rhythmic drumming. Robertson ups the ante with a sputtering trumpet solo, full of fire. "Memphis Ramble" opens with a fast drum solo and funky piano. The musicians add some chanted vocals the give the performance the bluesy feel of a strutting R&B/jazz amalgam. Strong and open ended interplay made this a successful album. The music melds a number of influences from free jazz to ballads and R&B and blends them into a nicely interwoven whole. Memphis - amazon.com

~ jazzandbluesblogspot

The Fonda Stevens Group - "Memphis"
(Playscape Recordings)

Together nearly 20 years, the Fonda Stevens Group has been thrilling audiences in Europe for years, but have been less well known here in America. Recently, pianist Michael Jefry Stevens has been making a concerted effort to make the group's material available to the American public and hopefully this will increase the awareness and appreciation of these exceptional musician/composers. The new release - Memphis, is named for Stevens' location (the other three are still in New York) - where he relocated several years ago. The record opens powerfully with Fonda's avant-leaning "In the Whitecage" - a tribute to Fonda and Stevens' former band leader saxophonist mark Whitecage. Stevens' enchanting "For My Brother" pulls things back toward the melodic and contemplative. Fonda's bowed bass intro is enough to bring tears to your eyes, while Stevens playing offers a wealth of depth and creativity which simply must be heard. Trumpeter Herb Robertson mutes his horn here, while the final member of the quartet - drummer Harvey Sorgen is a master of intuative expression on the drums - mixing Paul Motion/Brian Blade-style creativity with his duties as timekeeper.

Fonda and Stevens basically alternate the composition duties, so the bassist's rewarding "Looking for the Lake" follows. This number starts off as fairly straight-ahead hard bop number, but mutates into a thorny free form middle section. Stevens, here again proves himself worthy as one of the pre-eminent pianists carrying on the tradition of the late Andrew Hill, with his impressionistic and inventive forays, while Sorgen sets off a few explosions of his own. Stevens' hard-charging "Changing Tides" is a rhythmic and melodic delight with some of Robertson's best work. His playing at times is as fiery as Freddie Hubbard, but his tone is closer to Miles. Stevens again thrills with his solo, and the interplay between the members is on a subconsious level. "The Path" proves Fonda can play nice when he wants to, while his "Yes, This is It" returns to stretching boundaries. "There is a Very Fine Line Between Your Life and Mine" takes thngs into a surprisingly whole new realm - with the group singing along - in a manner reminiscent of AACM, Pharoh Sanders and Sun Ra - in between lengthy free jazz excursions. Steven's haunting "Whale Majesty" sounds like it may have been written around whale sounds and the group mimics the deep sea movement and sounds of these majestic creatures with their instruments. The group changes it up again on Steven's blusey "Memphis Ramble" - which bounces along jauntily and shows the wide range of skills these players have, while also making the listener smile at the Cab Calloway sing-along that tells the story of Stevens' move to Memphis - following his wife who teaches poetry at Rhodes College. Finally, the memorable "Break Song" takes the band out on a high note with great solos from all. Make note: this is one of the finest jazz quartets around today and deserving of greater respect and attention.
www.playscape-recordings.com
~ Brad Walseth - Chicago Jazz Net

Michael Jefry Stevens, PO Box 40551, Memphis, TN 38174-0551 (USA)
ph: +1 901 276-6544, mobil: +1 917 916-1363
e-mail: mjsjazz@mac.com, facebook.com/mjsjazz, skype: mjsjazz
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2004-2010 Michael Jefry Stevens. created by design4music.org

CD Reviews, Articles

The Fonda/Stevens Group - Parallel Lines - Music and Arts Recording

The Fonda/Stevens GRoup - LIVE AT THE BUNKER (Leo Records) - The Fonda/Stevens Group

The Fonda/Stevens Group, "TRIO" on Nottwo Records

The Fonda/Stevens Group, "TRIO" on Nottwo Records

The Fonda/Stevens Group, "TRIO" on Nottwo Records

The Fonda/Stevens Group, "TRIO" on Nottwo Records

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group "Forever Real"

The Fonda/Stevens Group, Forever Real (482 Music)

The Fonda/Stevens Group, Forever Real (482 Music)

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Forever Real (482 Music)

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Live at the Bunker (Leo Records)

The Fonda/Stevens Group, Live at the Bunker (Leo Records)

The Fonda/Stevens Group, Live at the Bunker (Leo Records)

The Fonda/Stevens Group

The Fonda/Stevens Group - Live at Alte Paketpost -

The Fonda/Stevens Group, Forever Real (482 Music)

The Fonda/Stevens Group - Live Review from Esslingen

The Fonda/Stevens Group, Forever Real (482 Music)

The Fonda/Stevens Group, Forever Real (482 Music)

The Fonda/Stevens Group - Interview with Joe Fonda

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Twelve Improvisations

The Fonda/Stevens Group, Teatar &TD, 7. travnjaa 10.04.2006. 11:39. Jazz Muzejski primjerci u odrazu þivota

The Fonda/Stevens Group "Memphis" on Playscape Recordings. Herb Robertson on trumpet, Harvey Sorgen on drums, Joe Fonda on bass and Michael Jefry Stevens on piano.

The Fonda/Stevens GRoup "Memphis"

The Fonda/Stevens Group "Memphis" on Playscape Recordings

Fonda/Stevens Group "Memphis" on Playscape Recordings

Fonda/Stevens Group "Memphis"

Fonda/Stevens GRoup - Live concert review from Spielboden, Austria (October 2009)

The Fonda/Stevens Group "Memphis" on Playscape Recordings

The Fonda/Stevens Group "Memphis" on Playscape Recordings

Fonda/Stevens Group "Memphis" on Playscape Recordings

The Fonda/Stevens Group "Memphis" on Playscape Recordings

Fonda/Stevens Group "Memphis" on Playscape Recordings

The Fonda Stevens Group - "Memphis" (Playscape Recordings)

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The Fonda/Stevens Group, Teatar &TD, 7. travnjaa
10.04.2006. 11:39. Jazz
Muzejski primjerci u odrazu þivota

The Fonda Stevens Group - "Memphis"
(Playscape Recordings)