Joe Lovano Albums (26)
What The Critics Say
Jazz is essentially an African-American folk art, elements not lost on Joe Lovano as he presents this all-original program of progressive music. His updated quintet Us Five is one of his freshest units in some time, with bassist Esperanza Spalding, the criminally underrated pianist James Weidman, and two stir-the-pot drummers in Francisco Mela and Otis Brown III. Together they fulfill Lovano's vision as a band that is not afraid to take many chances, stay within a bop-based tradition, and cut loose on many levels in terms of adding diverse elements to this mix of music. Lovano is noticeably restless, using his reliable tenor sax, but also straight alto, clarinet, and taragato. The drummers not only play their standard kits, but ethnic percussion instruments from many continents, while Spalding is maturing and growing exponentially into a formidable voice on her instrument. Weidman is simply brilliant throughout, largely ignored since his early days with Abbey Lincoln until now, but there's no reason he should be so underestimated or slighted. The title track is as intriguing as its concept, dipping into modal jazz via a stairstep melody and slipstream steady swing that staggers slightly (influenced by one beer?) punctuated by the drummer's "solo" and Weidman's outstanding bop step out. Always an outside-the-box thinker, Lovano's tenor stretches in unique, post-Coltrane mannerisms for "Us Five" surrounding his rhythm makers and the chords of the piano, while the band explores improvisation in no time during the wondrous "Ettenro," completely untethered by any standardized structure. The distinctive and most enjoyable "Dibango" is a slightly squawky funk with Lovano on taragato, up in a high, sustained register, a bit goofy, and very reminiscent of Don Pullen's great tune "Big Alice." "Powerhouse" is the straitlaced neo-bop tune à la Thelonious Monk that Lovano has always favored, his clarinet comes out on the delicate, serene soul blues "Page 4," and the appropriately titled "Wild Beauty" is not so much exotic as it is edgy within a ballad framework. Of the many excellent and diverse projects Joe Lovano has produced and won critical acclaim for, this ranks with his very best, as strong an album as he has ever produced, with musicianship at an extremely high level, and well-conceived compositions that continue to identify him a true original. Folk Art, close to his definitive statement, is highly recommended, and should be considered a candidate for Jazz Album of 2009. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Joe Lovano's joint project with the vaunted WDR Big Band & Rudfunk Orchester from Germany (recorded live in concert on November 26, 2005, aside from the studio track "His Dreams") is one of many collaborations combining an American jazz artist with the horns and strings of this classically oriented, jazz-informed orchestra. Randy Brecker's project with WDR on Some Skunk Funk and brother Michael fronting the group of Claus Ogerman on Cityscape come immediately to mind as parallels. Symphonica is Lovano's 20th recording for the Blue Note label, and his fourth orchestral project. What the saxophonist does in working with this group and the arrangements of veteran Michael Abene allows space for breathing, emotional range, and expansive palette colors that a small ensemble cannot attain. Splitting time between tenor and soprano, Lovano personally can't be matched by any contemporary player, and merges well with the strings, oboes, and brass players in WDR that are featured in certain well-regulated spots. It is also evident that the tone, ideas, and clarity of Lovano's style get better with age. Another aspect is that WDR do not play staid or rote music. The opener, "Emperor Jones" (dedicated to Elvin Jones), combines all the elegant elements of orchestral and jazz musics beautifully, not as cerebral, but as if they were always meant to be together. Listen to the shout choruses and quirky and kinetic neo-bop stance to hard bop swinging on "Alexander the Great," the darting and bobbing harder-edged choppy contemporary funk with electric guitar and piano during "The Dawn of Time," or the classic siren song treatment drenched in oboe and clarinet of the very interesting new version of "Duke Ellington's Sound of Love." Clearly the stamp of Ellington, Charles Mingus, and Gil Evans is firmly embossed on all of this music. Lovano's soprano work deserves further attention, as he blends hip and heavy phrases with the band on the funky modal 6/8 unison lines of "Eternal Joy," and is involved in more intricate weavings of modified tints on the atmospheric waltz "His Dreams." Strings sigh and pine during "I'm All for You," a Lovano original love song -- based on the changes of the famous "Body and Soul" -- that has tuneful potential to be a future standard. This is a completely realized, well-exercised, and thoughtfully programmed recording. Most should expect nothing less from Lovano and the WDR Big Band & Rudfunk Orchester. ~ Michael G. Nastos, All Music Guide
'Kids: Duets Live at Dizzy's Club Coca-Cola'
Release Date 1/1/2007
Tracks 11
Label Blue Note
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What The Critics Say
Tenor saxophonist Joe Lovano and pianist Hank Jones make for a perfect combination on this set of live duets. They had played together on an occasional basis for the two years prior to this project, collaborating on the Joyous Encounter recording. Jones has a timeless style that since 1944 has been a transitional approach between swing and bop. His two-handed playing makes it possible for him to be an entire rhythm section by himself, so one does not miss the bass and drums. Lovano, one of the most versatile of all saxophonists, fits easily into this format, coming across as a major modern swing stylist, paying respect to the melodies while also adding his own individual sound to the music. In addition to their duets, Jones has a pair of individual features (including "Oh! Look at Me Now!") and Lovano gets to stretch out a bit on the more boppish numbers. Although the team of Joe Lovano and the ageless Hank Jones was not inevitable, it has proven to be an ideal matchup between two giants of jazz. Recommended. This CD was nominated in 2007 for a Grammy award as Best Jazz Instrumental Album (Individual or Group,) and the improvisation by Jones on "Lullaby" was nominated for Best Jazz Instrumental Solo. ~ Scott Yanow, All Music Guide
'Streams of Expression'
Release Date 1/1/2006
Tracks 11
Label Blue Note
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What The Critics Say
Joe Lovano can always be relied upon to switch gears from one project to another, constantly exploring new music and fresh variations of older pieces. On Streams of Expression, he contributes the five-part "Streams of Expression Suite," a three-part "Birth of the Cool Suite" (conducted by Gunther Schuller) that uses themes from Miles Davis' 1948-1950 Nonet, and three briefer works. Lovano utilizes several groups along the way, and there are spots for the other horn players (including tenors George Garzone and Ralph Lalama, baritonist Gary Smulyan, and especially trumpeter Tim Hagans) to be heard. Lovano is in prime form, the Miles Davis melodies are expertly updated, and although none of the new individual themes were destined to be future standards, the playing by Lovano and his sidemen is consistently creative. Another highly recommended Joe Lovano outing. ~ Scott Yanow, All Music Guide
What The Critics Say
Continuing the elegant group interplay explored on 2004's I'm All for You, tenor saxophonist Joe Lovano and pianist Hank Jones reunite on Joyous Encounter. Recorded right after finishing the tour in support of the group's aforementioned first outing, Joyous Encounter features a quartet with obvious love for each other and the sound they make together. Once again backed by the stellar rhythm section of bassist George Mraz and drummer Paul Motian, Lovano and Jones showcase their kindred musical spirits with a warm and pleasing mix of deft melodiscm and supple harmony. Expanding upon the ballads-only concept of their previous encounter, this Joyous Encounter finds the ensemble tackling a wide swath of improvisational territory from the urbanely swinging Lovano original "Bird's Eye View," to Thelonious Monk's lightly elegiac "Pannonica," Thad Jones' sweetly gorgeous "A Child Is Born," and even John Coltrane's other classic, the plaintive "Crescent." ~ Matt Collar, All Music Guide
What The Critics Say
Bringing to mind a superb mix of Dexter Gordon and Sonny Rollins, I'm All for You finds forward-thinking saxophonist Joe Lovano expertly balancing heartfelt melodicism and cerebral harmonic improvisation. Easily one of Lovano's most listenable endeavors, the ballads-oriented album pulls no punches and simply allows you to sit back and enjoy a master play at his utter best. Joining him is journeyman pianist Hank Jones, who brings his urbane touch to such classic standards as "Don't Blame Me" and "Like Someone in Love." Rounding out the ensemble are longtime Lovano associates bassist George Mraz and drummer Paul Motian, who lend an egoless mentality to the proceedings, helping to emphasize lush group interplay over individual pyrotechnics. ~ Matt Collar, All Music Guide
'On This Day at the Vanguard'
Release Date 7/8/2003
Tracks 7
Label Blue Note
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What The Critics Say
Recorded live at the Village Vanguard, On This Day...At the Vanguard is saxophonist Joe Lovano's first recording with his award-winning nonet since the release of 52nd Street Themes in 2000. Having recorded in a variety of settings ranging from those of big-band leaders Woody Herman and Mel Lewis to duets with Mulgrew Miller on Tenor Legacy to quartets featuring such stellar artists as Dave Holland, John Scofield, and Al Foster (collectively known as Scolohofo), Joe Lovano proves with this CD that his artistry remains highly adaptable to any musical setting. Opening the program with the first of two originals written for this recording is Lovano's swinging "At the Vanguard." It has a harmonic sequence based on "Stompin' at the Savoy," and features outstanding solos by Lovano, alto saxophonist Steve Slagle, trumpeter Barry Ries, and pianist John Hicks. "Focus" and John Coltrane's "After the Rain" offer listeners two exceptional contrasts of Lovano's playing style, while "On This Day Just Like Any Other" is a 15-minute free jazz offering with amazing improvisations that Lovano wrote around the time drummer Billy Higgins passed away. The recording closes with "My Little Brown Book," a beautiful, serene ballad that returns the music to the quartet sound and served as the show's encore. Overall, On This Day...At the Vanguard captures the essence of Lovano's reverence and enthusiasm for the jazz venue that has supplied a great deal of his musical inspiration over the course of his jazz career. ~ Paula Edelstein, All Music Guide
What The Critics Say
Viva Caruso is easily one of tenor saxophonist Joe Lovano's most ambitious and enjoyable recordings. Much like Terence Blanchard's Jazz in Film or Uri Caine's Urlicht/Primal Light, Viva Caruso finds the reedman adapting orchestral melodies and harmonies to a jazz format. Inspired after reading a biography about Italian tenor and opera legend Enrico Caruso, Lovano spent most of 2000 through 2001 researching Caruso's music and developing this project. There is a progressive, third stream appeal to Viva Caruso, with the various instruments laying down intricate counter-melodies and liquid, pulsating rhythms. For example, "Vesto La Giubba" from Pagliacci is slowed down here into a kind of folk-jazz meditation, not unlike something Dave Douglas' Tiny Bell Trio might do. Likewise, "Campane a Sera" features a pretty flute introduction to a very mid-'50s, Stan Kenton-style arrangement, and Gerald Wilson could very easily have scored "Soltano a Te" with its characteristically West Coast, neo-phonic horn sounds. Not wanting to merely focus on the arias Caruso is famous for, Lovano reworks many of the songs the singer recorded that are compiled on the Nimbus CD Caruso in Song. Most of these sides were originally arranged with a small wind ensemble, a format which Lovano employs on the original composition "Streets of Naples," a street party-like tango featuring accordion accents. One of the real revelations on the album is how comfortably much of Caruso's popular oeuvre adjusts to jazz improvisation. "Santa Lucia," with its tropical-island carnival atmosphere, features Lovano in a tenor, bass, and drum format reminiscent of Saxophone Colossus-era Sonny Rollins. Similarly, the spirit of Joe Henderson permeates the airy and lithe "O Sole Mio." ~ Matt Collar, All Music Guide
'Flights of Fancy: Trio Fascination, Vol. 2'
Release Date 1/1/2001
Tracks 14
Label Blue Note
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What The Critics Say
The first edition of Joe Lovano's Trio Fascination featured Dave Holland on bass and Elvin Jones on drums. Following the album's release in 1998, however, Lovano's live shows featured the less famous but equally muscular bass/drum team of Cameron Brown and Idris Muhammad. On Trio Fascination, Vol. 2, the Lovano/Brown/Muhammad unit is only one of four trio configurations that the saxophonist employs. Taking the trio concept beyond the traditional confines of horn, bass, and drums, Lovano takes a left turn and colors this album with continually changing instrumentation. Trio one is Lovano, Brown, and Muhammad. Trio two features the leader with Billy Drewes on soprano saxophone and alto flute and Joey Baron on drums; trio three with Toots Thielemans on harmonica and Kenny Werner on piano; and trio four with Dave Douglas on trumpet and Mark Dresser on bass. (The trios change unpredictably from track to track, sort of like a CD player in shuffle mode.) Varying the instrumentation even further, Lovano, like on volume one, switches from among his arsenal of horns: tenor, straight alto, soprano, and C-melody saxes, as well alto and bass clarinets. On "206," he modifies trio four by playing drums behind Douglas and Dresser, and on "Blue Mist" he begins with gongs to supplement Muhammad's percussion textures. In two instances, the trios change during the very course of the tune. "Bougainvillea" (by Lovano's wife, vocalist Judi Silvano) starts with trio one and in the last two or so minutes segues to an impressionistic ending featuring trio three. "On Giant Steps," based on the groundbreaking Coltrane chord changes, proceeds in the opposite direction: Trio three solos freely and simultaneously, then passes the baton to trio one, which launches into a swing tempo -- far slower than is usual for the tune, but no less burning. One of Lovano's first high-profile projects was an unorthodox trio with guitarist Bill Frisell and drummer Paul Motian. The saxophonist's association with Drewes and Baron dates back to the early '70s. So Lovano's "trio fascination" has deep roots, and the music on this record is a cumulative and probably near-exhaustive survey of his abilities within the form. One only need contrast "Hot Shot" or "Flights of Fancy" or the obscure McCoy Tyner ballad "Aisha" (all trio one) with modernist, offbeat abstractions like "Amber" and "Amsterdam" by trio four, or "Off and Runnin'" by trio two, to get an idea of Lovano's artistic range. Fans looking for more of the hard-driving, free-spirited swing of the first Trio Fascination record will find it here in smaller doses. And those who got their first taste of Lovano with 2000's neo-bop nonet record 52nd Street Themes ought to be prepared for something very different. ~ David R. Adler, All Music Guide
