An Avant-Garde Road to Expression - Bardfeld, Fonda and Altschul's -"Hurtling Between"

Sam Bardfeld, Joe Fonda and Barry Altschul-BFA Trio-Hurtling Between-Fundacja Sluchaj Music

The violinist Sam Bardfeld has been seen playing violin and coordinating larger string sections for popular rock group acts like Bruce Springsteen's E Street Band, and Elvis Costello. His history, however, has revealed a more avant-garde penchant. Bardfeld has found more expansive avenues for his musical expression with adventurous artists like Anthony Braxton, with the late trombonist Curtis Fowlkes’ Jazz Passengers or with Steven Bernstein's  Millennial Territory Orchestra. Following that inclination, the violinist recently teamed up with two iconic players of the free jazz world, double bassist Joe Fonda and drummer/percussionist Barry Altschul.

Joe Fonda, Sam Bardfeld and Barry Altschul (photo credit unknown)

A short look at Joe Fonda’s diverse double bass musical history includes his work with pianist/composer Carla Bley, the saxophonists Anthony Braxton and Archie Shepp, as well some creative work with the trumpeters Dave Douglas and Wadada Leo Smith. 

Likewise, drummer Barry Altschul’s propulsive percussion has been an important part of work with the likes of pianist Paul Bley, and as a member of Chick Corea’s forward-looking Circle Group with multi-reedist Braxton and master bassist Dave Holland, to name just a few. Fonda and Altschul have been probing the cutting edge of the avant-garde jazz world for the last half-century.

In 2003, Fonda and Altschul found common cause with the progressive violinist Billy Bang. The three became enamored with their intuitive, improvisational free association. To these three adventurers, this approach to improvisational jazz was aligned to their vision of creativity. The three formed the influential, but sadly short-lived, FAB (Fonda, Altschul and Bang) Trio, performing from 2003 through Bang’s transition in 2011. 

FAB Trio: Billy Bang, Barry Altschul and Joe Fonda (Photo credit unknown)

Fast forward to 2026. This latest group BFA (Bardfeld, Fonda and Altschul) picks up where the former trio had last left off. Bardfeld plays with a raucous, folk-inspired, sometimes humorous sense of abandon. Bill Milkowski likened his style to a mixture of “… a Stuff Smith playfulness with a Charles Ives aesthetic…”!  It’s no wonder why Fonda and Altshcul found this like-minded soul to be an artist that they could have common ground and make music with. The BFA Trio’s first release, Hurtling Between, is to be released on the Polish label Fundacja Sluchaj this late October.

The release features seven compositions, two by Altschul which bookend this album. The opener “Martin’s Stew” is a dedication to fellow American drummer Stu Martin. Martin’s career ran the spectrum- from big bands led by Basie, Ellington and Quincy Jones, to backing post-bop giants like Sonny Rollins and Herbie Hancock, and into creative work with modernists like multi-reedist John Surman, bassist Barre Phillips and pianist/composer Carla Bley. The trio takes a free flow interactive approach to communicate their musical message, and while it may lose some listeners in what appears to be disorder, dissonance or randomness, there is an intuitive order to these three and how the interact. Even when the direction of a composition seems tentative. Even when the boundaries seem at times silky. This trio somehow always stay complimentary and on the same wavelength. 

“Ida Lupino”, my favorite from this album, is a revered Carla Bley composition with an Americana hymn-like feel to it. The song was previously played as a trio with Altschul on Paul Bley’s album Closer from 1966 with Steve Swallow on bass. Here it opens with a bowed drone by Fonda, as Bardfeld tickles the strings with creative, expansive lines before the music swings into the repeating melody. The easy sway is playful, energetic and propelled by Altschul’s cyclonic percussion. Fonda offers a probing solo and there is a beautiful intuitive interaction here that reveals the possibilities that these three can create. 

Julius Hemphill was an alto saxophonist that Altschul also played with in 1975 on Hemphill’s album Coon Bid ’ness. Bardfeld connection to this music comes from him being a member of the Hemphill Stringtet that was formed in 2022 . They released this tribute album as an all-string quartet, The Hemphill Stringtet Plays the Music of Julius Hemphill, in 2025. “C”, Hemphill's composition on this album, is a blues-based piece. The trio takes off at the opening setting at a blistering pace, held together by the frenetic pizzicato of Fonda, the often tumultuous drum work of Altschul, and the kinetically charged violin work by Bardfeld.

Sam Bardfeld (photo credit unknown)

The trio collectively create “Hippie Sh*t Could Set Us Free” another piece of music born out of free association. Fonda is on flute on this one, where he creates bird-inspired chirps. Bardfeld’s violin creates eerie, glassy squeals, and Altschul’s percussive accents punctuate the action deftly. The music ends with a sustained, medium-pitched metallic, almost gong-like wash to a fade.

The cover composition is Bardfeld’s “Hurtling Between” opens with Fonda’s strong ostinato bass lines, as Bardfield’s violin states the jagged, repeating melodic line. The music swells with turbulent drumming, explosive double bass pizzicato, and a violin that seems bent on playing with dissonant abandon. There is a sense of these three musicians being caught in a dervish whirlwind of their own making. It is not likely to leave you either calm or unagitated, but if you can imagine being caught in a tornado-like gust and being hurtled around like a rag doll, than this will  aural soundtrack will neatly compliment the cinematic experience you can imagine in your mind's eye.

Barry Altschul and Joe Fonda photo credit Guy de poel

Joe Fonda’s composition “G.S. #2” is a tribute to drummer George Schuller. Schuller is the son of the famous composer/educator/conductor Gunther Schuller who coined the concept of “Third Stream” music; the integration of classical techniques to jazz sensibilities. Fonda's opening bass solo is so resonant, pliant, and fluid. In just over one minute this virtuoso treats the listener to a feast of tones, attacks and aural possibilities that double bass under can evoke. Bardfeld adds his own artful attack to the mix, humanizing the violin with eerie, moan-like sounds that hang in the air. Altschul provides one of the most tumultuous solos on the album. His kit is alive, erupting with kinetic energy. A percussive cauldron that percolates, simmers and at times boils over.The trio ends in a unified conclusion.

The album ends with another Altschul composition, “Be Out School.” A playful, humorous tune that conjures up three sandbox occupants that are free to create their own entertainment. Boys will be boys. These three rollick with the realization that they are suddenly free of boundaries. Free jazz has that sense of having no limits and Bardfeld is clearly the instigator on this one. His violin boisterously taunts dissonantly. He challenges his bandmates to take a jump into the unknown. Fonda responds in kind with authority and defiance offering his own jagged response. Altschul percolates slowly, at first in tandem with his bandmates, and then with his own cantankerous response of being 'all in' on this romp. No one is going home unscathed here. Like three rough-house kids, hair all askew and 'best to school' clothing torn and soiled, there will be a price to pay. But these ruffians don't seem to mind, they have a wide smile on their face and the feeling is infectious. Pure 'out of school' fun.

A Drum Less Trio - Allison, Cardenas and Nash Explores Boundaries with "Triological"

 

Allison, Cardenas & Nash- Triological-SunnysideSSC-1811

The trio of Allison, Cardenas and Nash, as they are known, released their latest album titled Triological on Sunnyside Records this past April. If you have had the privilege of hearing these guys work before, either as sidemen, members of respected big bands/orchestras or as leaders of their own ensembles, then you are already aware of the copious talent these three musicians have.

For those who are unaware, Ben Allison is a vibrant bass player/composer/educator. He is also one of founders and creative director of the formative alliance, the Jazz Composer’s Collective in NYC, that from 1992-2005 promoted the creation and performance of creative, forward-looking jazz. His work first came to my attention with his group Man Size Safe’s album Little Things Run the World from 2008. The superb guitarist Steve Cardenas was also a member of that group, and I got to see that group perform in Brooklyn back in that year. I subsequently saw Allison and group with the performance artist Joey Arias at Carnegie Hall. I have reviewed several of his fine releases.

Cardenas was a member of the drummer Paul Motion’s Electric Be Bop Band and was with bassist Charlie Haden’s Liberation Music Orchestra for ten years.  I was also able to see Cardenas perform as a member of pianist Jon Cowherd’s talented Mercy Project when they performed in Portland, OR in Feb of 2023. I have enjoyed his work on his  Blue Has a Range and enjoyed his work with bassist John Patitucci and the drummer Adam Nussbaum..

Ted Nash has been a multi-woodwind member of Wynton Marsalis’s Jazz at Lincoln Center Jazz Orchestra from 1998 through 2024!  I have heard him play in that orchestra on several occasions. He is the son of Dick Nash and the nephew of Ted Nash; both were first call Hollywood studio musicians who worked predominantly with the composer/arranger Henry Mancini.  Ted’s Presidential Suite:Eight Variations on Freedom, a big band suite released in 2016, won a Grammy in 2017.

Ted Nash, Ben Allison and Steve Cardenas (photo credit unknown)

This gifted trio’s first recording was Quiet Revolution, from 2018, explored the music of guitarist Jim Hall and reedist Jimmy Guiffre. Guiffre’s inventive drum less trio concept became the impetus for this trio’s future explorations, expanding the concept that a reed, guitar and bass could generate their own internal rhythmic drive through thoughtful interplay. 

In 2019 they released Somewhere Else which featured the music of West Side Story and the work of composer Leonard Bernstein. The trio released Healing Power-The Music of Carla Bley in 2020, and in 2024 they released Tell the Birds I Said Hello, a celebration of the rhymically displaced and harmonically rich music of pianist Herbie Nichols. It was only inevitable that this dynamic threesome, a trio so adept at interpretating other people’s compositions, would eventually release an album that featured their own original compositions. Thus, the genesis of the latest release, Triological.

Ten compositions, four by Allison and three each by Cardenas and Nash, make up this all-original offering. The inspiration for composing can often be found in previously composed, influentially residual, impressions that emerge from seeds of other people’s work. The music has elements of chamber jazz on this offering. The three reach a quiet, sensitivity that reaches for musical boundaries and can only be reached by musically empathetic artists willing to explore tonal and rhythmic boundaries. This album does all that and more.

Allison’s opening composure, “See Forever,” is an easy, mellow, sauntering piece that the bassist speaks of as being the product of a stream of consciousness approach. He finds this song the perfect vehicle for his vintage 1967 Hofner electric bass. Nash’s tenor is sonorous and Cardenas’ guitar is light and airy as the three weave around separately and  at times in sync with each other. Allison admits that there is a late fifties “easy listening” feel to this one, and he credits being somewhat influenced by the seminal work of conductor/composer Henry Mancini. Emulation of a great composer is hardly a weakness, and we will see this approach being somewhat thematic throughout the album.

Guitarist Cardenas’ “Puddle Jumper” is a flowing, bubbling piece that originally developed from the opening melodic lines that the guitarist was playing with and recorded on a voice memo, only to be left for development at a later date. There is a quiescent to this beautiful, melodically repeating line that emanates to the listener. It’s like a tonic to whatever may be ailing or disturbing you; just under four minutes of tranquility.

Ted Nash’s “Burnt Toast & Avocado” opens with a sensitive acoustic bass entre before Nash’s tubular clarinet takes a sinewy solo that lulls you like a snake charmer. Cardenas follows with his own exploratory, uncluttered solo that rings with sensitivity, before Allison’s throbbing bass lines resonate with sustain and authority.

Allison’s lively “Fellas with Umbrellas” is a composition that has two sources of inspiration. Initially Allison wrote the melody  over the chord changes of bassist Steve Swallow’s composition “Ladies in Mercedes.” An opening staccato bass line frames Nash’s gorgeous descending lines on his tonally rich tenor. Allison’s acoustic bass solo dances with aplomb; a sustained resonance that is subtly comped by Cardenas’s feather strumming. When the guitarist takes his turn, Allison’s strong rhythmic pace allows Cardenas to fearlessly explore the harmonic possibilities of the melody. Surprisingly, Allison mentions that the composition also had another great composer, Michel LeGrand, in mind. LeGrand’s cinematic soundtrack from The Umbrellas of Cherbourg clearly was in Allison’s mind when he titled this one. It turns out, Allison, in talking to Swallow about this composition, admitted that he too was influenced by LeGrand. The world of music can clearly be a small, small world, but one that is constantly renewing itself with new artists and new ideas of interpretation.

The album continues with the film-noirish “Milton,” an Allison composition previously released on his Moments Inside from 2021. Nash’s tenor is a marvel of luscious tonal delight. Allison again utilizes his Hofner electric bass, as Cardenas offers a solo accentuated by his use of a tremolo effect. The contrast between the metronomic bass lines, the trembling guitar lines, and the legato tenor lines make this sonically a treat.

“By Heart” is a Cardenas almost Americana style ballad that opens with the guitarist’s slow, sensitive opening lines that are repeated in sync by the three musicians. Cardenas’ guitar solo is short and poignant before Nash’s tenor adds to the pensive mode. Allison’s bass just hums with sustain and includes some higher register lines before the music returns to the opening lines to the coda.

Nash’s “For Bill” is one of my favorite compositions of the album. Nash used Bill Evans’ “Time Remembered” as his inspiration. The music opens with bass and guitar before the tenor enters with the melody line. There is patient, unhurried approach that clearly honors Evans’ own approach to music. Nash’s tenor tantalizingly navigates the sinewy lines with unshowy confidence and with rich harmonic ideas that don’t wander too far from the melody.  Cardenas’ accompaniment is intuitive and splendid. When he solos, it’s always airy, unobtrusive; always meaningful. Allison’s bass rings with a rhythmic presence that few can match. He always offering surprisingly inventive lines that accentuate the instruments vibrant possibilities.

“Back Home” is a return to the roots of the guitarist’s influence back in Kansas City, Missouri and his early time with pianist Jay McShann. With a loping bass line and tandem playing by Cardenas on electric guitar and Nash on tenor saxophone, the music swells with back home comfort. Nash is so welcomingly melodic, and Cardenas’ guitar sometimes has a comping feeling that recalls the sound of a delicately hammered vibraphone. 

Nash’s “Ida’s Spoon” is supposedly reimagined from Victor Young’s classic “Stella by Starlight”.  The music has the flow and momentum of a cryptic Lenny Tristano song where the lead instruments guitar and tenor weave themselves into a tapestry of sounds with no apparent direction. Nash claims saxophonist Warne Marsh’s as an inspiration on this one. Cardenas’ guitar work is at its most abstract here, and Allison’s bass is as free-flowing as we have heard.

The finale is Allison’s “Peace Out There” and reprises the sound of Nash’s warm, woody-toned clarinet. Allison claims that this was originally a work that had Jimmy Guiffre in mind, but as it developed, he feels it was more inspired by Carla Bley and her abstract “Mornings Out There.” There is parts with quickly played staccato lines followed by a more pastoral section where Allison’s electric bass and Cardenas’s guitar lines are played in unison, as Nash’s clarinet probes the atmosphere of the music. Quite beautiful, ambient and peaceful.