White Lightning Posted August 9, 2004 Report Share Posted August 9, 2004 ghost of miles has asked me to pick the Album of the Week for Aug. 15-21. I've chosen what I believe is Carl Fontana's first studio recording THE GREAT FONTANA: It's been almost a year since Carl Fontana left us, and I thought it was appropriate to focus on this under-appreciated master of bone. Fortunately, this Album, along with a few others, reveals Carl Fontana's mastery. Plus it's a kick-ass mainstream Album! And it also has has Al Cohn!! A few details on the Album: The Great Fontana (Uptown) Rec. Sept 5-6, 1985 Carl Fontana (tb); Al Cohn (ts); Richard Wyands (p); Ray Drummond (b); Akira Tana (d). Shoutin' on a Riff It Might as Well Be Spring Soon I Thought About You Showcase Polka Dots and Moonbeams Always Expubident What's New? America the Beautiful I'm interested to hear what you have to say about this album! Quote Link to comment Share on other sites More sharing options...
Free For All Posted August 15, 2004 Report Share Posted August 15, 2004 What a pleasant surprise! Good pick Barak! Carl has long been at the top of my list. The first time I heard him was on a Supersax side, Salt Peanuts. The fluid technique, distinctive tone and the wonderful melodic construction are what drew me in. I remember thinking "Wow, that's the way the instrument should be played. I should either start practicing harder or quit!" I'm glad I chose the former. I'd guess this AOTW choice might be a bit conservative for some, but I urge you to listen for what (IMHO) are the most crucial elements of improvisation- SOUND and TIME. Carl plays with a very controlled and focused tone, and has an amazing internalized sense of time, as proven on his all-alone moment on It Might As Well Be Spring. He can play very fast but treats technique as a means to an end, not an end in itself. When he does play fast lines, they are clean and relevant. It's relatively easy to learn to articulate fast on the instrument, what's hard is making a meaningful statement with that technique. I had a student transcribe one of Carl's high-speed solos; the student was using a half-speed transcription deck, and it was amazing to hear the solo at a slow tempo- every note was perfect and in tune! While he doesn't have the more modern harmonic vocabulary of someone like Slide Hampton, for example, I think the beauty of his improvisation comes more from his melodic sense. Yes, he has favorite licks and patterns, but he always seems to assemble his vocabulary into a very interesting and engaging monologue. And he has huge ears! One thing about Carl is that that he has long had a disdain for the business side of music which has kept him residing in relative obscurity. This is partly the reason for the dearth of recordings, plus the fact he was never really a hustling self-promoter. This is a wonderful side- engineered by RVG himself!- and serves as a long-overdue testament to a true master of the instrument. As far as I'm concerned, Carl owns Polkadots And Moonbeams!! I've heard him play the tune many times and he never fails to make it special. And let's not forget what a treasure Al Cohn is! He and Carl make a great front line. The rhythm section is also exceptional. I look forward to the discussion of this AOTW. Once again, thanks Barak! Quote Link to comment Share on other sites More sharing options...
John Tapscott Posted August 16, 2004 Report Share Posted August 16, 2004 Well, since trombone was my "axe" (note the past tense) and I have this on LP, I dove right in and gave this a spin tonight. There are 6 tunes on the LP (and there could have been 1 more per side) as the LP runs 36 min. But that's my only complaint. I second everything Free for All says about this music. Fontana is not just a great technician, but has a real gift for flowing, melodic improvising. (This is something that may be undervalued in the jazz world today). In fact, I think it's that sustained flow that is the most remarkable thing about Carl's playing. He never seems to run out of ideas or breath and it all seems so natural and easy, though of course, even if you have the gift, this is tough to do. I dig his full sound too, in every register. This guy was a master, no doubt about it. The program is not overly ambitious, swing-to-bop, and bop basics, for the most part, a samba version of "It Might as Well be Spring," and Carl's ballad feature, Polka Dots..." which he had been playing for at least 30 years by that point (1985). The tempos are nicely varied, however, and there's a sense of balance to the date. We only had Al Cohn for a couple more years after this, but he sure sounds good here. Al seems quite inspired by the rhythm section (which is excellent BTW, esp. Akira Tana to my ears), and if anything, Al seems more classically "boppish" than Fontana. You have to dig Al's squeak on the head of "Showcase."' Also the improvised chorus Al and Carl play sans rhythm section on "Soon" works very well. All in all a most satisfying date, nicely recorded, with a real air of maturity about it. After, hearing this I'm ready for a good night's sleep (and it's not at all because the music is sleepy). Quote Link to comment Share on other sites More sharing options...
Free For All Posted August 16, 2004 Report Share Posted August 16, 2004 Fontana is not just a great technician, but has a real gift for flowing, melodic improvising. (This is something that may be undervalued in the jazz world today). I absolutely agree John! Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted August 16, 2004 Report Share Posted August 16, 2004 The cd has 10 songs and clocks in at about 58 minutes. Quote Link to comment Share on other sites More sharing options...
Free For All Posted August 16, 2004 Report Share Posted August 16, 2004 Hey Chuck! Welcome back. Hope your vacation/trip was enjoyable! Quote Link to comment Share on other sites More sharing options...
catesta Posted August 16, 2004 Report Share Posted August 16, 2004 Just gave this one a sample listen, and you guys are right. It's a must. Quote Link to comment Share on other sites More sharing options...
Free For All Posted August 18, 2004 Report Share Posted August 18, 2004 Is that it? No one's interested in this? Is Carl just not on anyone's radar? Too bad! Quote Link to comment Share on other sites More sharing options...
White Lightning Posted August 18, 2004 Author Report Share Posted August 18, 2004 I first heard Carl Fontana on Kenton in Hi Fi. 3rd track was "Intermission Riff". Fontana took 4 elegant, musical choruses there, I was in instant fan. Since then I tried to listen to CF as much as I could - Kenton's Cuban Fire, Herman's 3rd herd, Kai Winding 4 bone sextet, and small combo CDs. Unfortunately, CF has recorded relatively little. In fact, "The Great Fontana" is his first album as a leader. I always group Fontana with Frank Rosolino: Both were Kentonites, both wonderful bop players, both could play as fast as the fastest saxophone around, both very fluid, very inventive. CF is such a wonderful melodic player. It seems as if he could play an infinite no of choruses not repeating himself and it all make sense as if it was written by the songster. I like the way he caresses his bone - Up close to the mike, not shouting his head off as so many bone players does. "The Great Fontana" is truly a great place to start on a CF hunt: As FFAwrote: "It Might as Well be Spring" is a wonderful track converted to smaba groove. It'll make everyone who hears it drop their jaw in wonder and awe: wonderful articulation, control, imagination, and very melodious. All in high gear. "Polka dots..." is a great feature for his ballad talent. emotional, but not schmaltz, and a little dry humor that only adds to the overhaul ballad experience. Another thing that CF does best is his countermelodies. You hear it especially on head outs in which Cohn Melodies blend with CF's contermelodies perfectly. I also have a feeling that if you transpose two of CF's choruses of the same tune - one on top of the other you'll get a perfect contrapunktal experience. "America the Beautiful" - reveals CF sense of humor. He plays this tune with a "tongue-in-cheek" wit. A great ending to a great album. Quote Link to comment Share on other sites More sharing options...
Free For All Posted August 18, 2004 Report Share Posted August 18, 2004 Whew. That's better. Sorry I blew up! Barak, there's a somewhat obscure recording featuring a group called "Bobby Knight's Great American Trombone Company", and I believe the side is called "Cream of the Crop". It's an LA trombone ensemble and some of the arrangements are quite corny, BUT...... Carl and Frank are both on it, and get quite a bit of space. There are some great moments worth checking out. The CD release also has some extra cuts. I'm not sure if it's still in release, but it's worth getting. John Tapscott, do you have this one...? Quote Link to comment Share on other sites More sharing options...
Free For All Posted August 18, 2004 Report Share Posted August 18, 2004 I like the way he caresses his bone Quote Link to comment Share on other sites More sharing options...
White Lightning Posted August 18, 2004 Author Report Share Posted August 18, 2004 I like the way he caresses his bone It's a metaphor!! Quote Link to comment Share on other sites More sharing options...
John Tapscott Posted August 18, 2004 Report Share Posted August 18, 2004 "Cream of the Crop". John Tapscott, do you have this one...? Absolutely, on CD. A must for all 'bone players! (Metaphor, or something like that!) :rolleyes Actually, a good CD for all jazz lovers, esp. since it has Frank and Carl together. I love the story in the liner notes about the time Carl missed the beginning of the first set because his cab was stuck in a traffic jam. Knight decided to pull Duke's trick and called an uptempo number featuring Carl as soon as Carl hit the stand. No problem for Carl, though as he'd been warming up on his mouthpiece in the cab! (This track is on the CD). Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted August 18, 2004 Report Share Posted August 18, 2004 The CD release also has some extra cuts. I'm not sure if it's still in release, but it's worth getting. Still availavle and I can supply it. B-) Quote Link to comment Share on other sites More sharing options...
ajf67 Posted August 18, 2004 Report Share Posted August 18, 2004 I first heard Carl Fontana on Kenton in Hi Fi. 3rd track was "Intermission Riff". Fontana took 4 elegant, musical choruses there, I was in instant fan. Since then I tried to listen to CF as much as I could - Kenton's Cuban Fire, Herman's 3rd herd, Kai Winding 4 bone sextet, and small combo CDs. Unfortunately, CF has recorded relatively little. In fact, "The Great Fontana" is his first album as a leader. I always group Fontana with Frank Rosolino: Both were Kentonites, both wonderful bop players, both could play as fast as the fastest saxophone around, both very fluid, very inventive. CF is such a wonderful melodic player. It seems as if he could play an infinite no of choruses not repeating himself and it all make sense as if it was written by the songster. I like the way he caresses his bone - Up close to the mike, not shouting his head off as so many bone players does. "The Great Fontana" is truly a great place to start on a CF hunt: As FFAwrote: "It Might as Well be Spring" is a wonderful track converted to smaba groove. It'll make everyone who hears it drop their jaw in wonder and awe: wonderful articulation, control, imagination, and very melodious. All in high gear. "Polka dots..." is a great feature for his ballad talent. emotional, but not schmaltz, and a little dry humor that only adds to the overhaul ballad experience. Another thing that CF does best is his countermelodies. You hear it especially on head outs in which Cohn Melodies blend with CF's contermelodies perfectly. I also have a feeling that if you transpose two of CF's choruses of the same tune - one on top of the other you'll get a perfect contrapunktal experience. "America the Beautiful" - reveals CF sense of humor. He plays this tune with a "tongue-in-cheek" wit. A great ending to a great album. Thanks for choosing this. I haven't heard it and don't know anything about Fontana, and appreciate your comments about him and the recording. I'll look for this (or else send Chuck some more $$ ). Quote Link to comment Share on other sites More sharing options...
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