For the most basic assumption that dictated my early attempts to respond to creative music commentary was the mistaken belief that western journalists had some fundamental understanding of black creativity—or even western creativity—but this assumption was seriously in error.

I had never thought that I would be involved in narrative structures. As a young guy, I was more interested in abstract modeling. But as I got older, I began to see that there was no reason to limit myself to any intellectual or conceptual postulate, when in fact I'm a professional student of music.

I would find myself backing away from all of the 'isms,' all of the communities. I have always been able to be misused by every community But that is OK. I would rather be misused than neglected.

Evolution is the phenomenon of change and the challenge of the next time cycle will involve the creation of constructs that will provide the kind of dynamic knowledge base that can assist the challenges of tomorrow (involving both fundamental and extended information).

So, yes, I am in the underground, but actually, it feels like home.

I'm a post-Abner Jay kind of guy mixed with Roger Corman and Frankie Lymon and the Teenagers.

There is more to creative mastership than the surface of satisfaction and political certainty. The music of Joe Fonda is part of a living tradition of belief and dedication. Future historians will be surprised at the breadth of Mr. Fonda's offerings. This is a real virtuoso and composer of the highest order.