Joe Lovano ~ Saxophonist & Composer

On Bird Songs : Charlie Parker's music rethought and interpreted in fresh ways

Although he has recorded for Blue Note for 20 years, it is significant that saxophonist Joe Lovano's recordings are now jointly credited to Us Five. Before putting together this exciting young band, Lovano was on a comfortable artistic plateau. The band of two drummers, bass and piano has received great acclaim and helped revitalize his music.

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On Bird Songs : On Bird Songs, the challenge facing saxophonist Joe Lovano-and it's a formidable one-is to tastefully approach Charlie Parker's iconic repertoire and his impeccably crafted alto saxophone playing as building blocks for previously unexplored possibilities. Bold strides are required, not timid tip-toeing, so the challenge is well suited to Lovano and Us Five, the group he began in 2008 with pianist James Weidman, bassist Esperanza Spalding and drummers Francisco Mela and Otis Brown III.

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On Bird Songs : The legacy of Charlie Parker is something that every jazz musician has to contend with. As a co-creator of bebop up at Minton’s with Dizzy Gillespie, Thelonious Monk, Bud Powell and others, Parker has assured his legacy by the time he died at age 34 in 1956. He was more than just a landmark innovator, as Bird’s outsized playing and personality in a community known for great playing and colorful characters makes him legend.

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On Bird Songs : Sax giant Joe Lovano has blown next to a bevy of jazz greats, and been applauded as soloist and leader throughout his nearly 40-year career. While it might seem surprising that audiences had to wait until his 22nd album for a tribute to Charlie Parker, Bird Songs demonstrates, once again, that Lovano does things his own way, and that great things are worth waiting for.

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On Bird Songs : Given its occasional tendency to revel in its rich past, you could argue that jazz needs another album dedicated to one of its titans about as much as it needs another 19-hour documentary series. But leave it to restless tenor saxophonist Joe Lovano to take the idea of a tribute record and turn it on its head with this collection dedicated to Charlie Parker.

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On Bird Songs : Joe Lovano / Us Five, ‘Bird Songs’

Saxophonist Joe Lovano has tried on a lot of bands and formats since joining the Blue Note label 20 years ago - duos, trios, quartets, big bands, near-classical ensembles. But his current quintet, Us Five, may be his finest. The band - which features pianist James Weidman, bassist Esperanza Spalding, and drummers Otis Brown III and Francisco Mela - put out the spectacular "Folk Art'' in 2009, and now they serve up "Bird Songs,'' a collection inspired by the work of Charlie Parker. But this is no mere tribute album. Parker's compositions are not played as he intended (speedily, with torrents of notes); Lovano upends them, infusing them with modern sensibilities. Mostly they are slowed down, which gives the musicians room to roam beneath the chords and rhythms. "Blues Collage,'' is a jazz mash-up: Lovano, Weidman, and Spalding each play a different Parker tune at the same time, intertwining the melodies into a new song altogether. Lovano says the idea for this project began when Us Five performed in Barbados and broke out a new arrangement of Parker's "Barbados,'' one with a Caribbean vibe. The tune is full of enthusiasm, and its ethos - finding something new to say through something familiar - encapsulates why Lovano is now jazz royalty.

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On Bird Songs : For those who wonder, "Do we really need another interpretation of Charlie Parker's music?" Yes, we do, and Bird Songs is it. Lovano's big-hearted tenor and vast imagination make this record a must-have for Bird fans, Lovano fans and jazz fans alike. With his terrific group Us Five-which includes Esperanza Spalding on bass, James Weidman on piano and drummers Otis Brown III and Francisco Mela-this is the followup to the group's highly regarded disc Folk Art from 2009. While that recording focused on Lovano originals, what we have on Bird Songs are 11 very personal reinterpretations of Parker tunes. For example, Lovano turns the up-tempo "Donna Lee" into a lush ballad with intricate, understated drum, piano and bass work providing a backdrop for Lovano's love letters sent through his saxophone. "Moose The Mooche" becomes an a great experiment in messing with time and rhythm. And "Yardbird Suite" serves as another shimmering ballad that slides charmingly into a mid-tempo toe-tapper. Lovano's saxophone playing is always a joy to hear, but this is a group that is developing into one of the best in the business. You can feel them listening to-and playing off-each other and enjoying the moment. The band will be launching this record with a weeklong engagement at the Village Vanguard Jan. 11–16, and an NPR Live At The Village Vanguard session to be broadcast on WBGO (Newark, N.J.) on Jan. 12. Both are must-witness events for the new year.

On Tones, Shapes and Colors : Joe Lovano’s recorded debut as a leader features the tenor in a quartet with pianist Ken Werner, bassist Dennis Irwin and drummer Mel Lewis. Together, they perform three originals apiece by the leader and Werner. None of the tunes are simple or based on the chords of standards, but although they did not catch on, the interplay by the musicians, the excellent pacing of tempos and moods, and the consistently satisfying solos make this a set worth searching for.

On Village Rhythm : By 1988, it was becoming increasingly obvious that tenor saxophonist Joe Lovano was on his way to becoming a major name in the jazz world. For this advanced hard bop set, he contributed all of the selections other than Charles Mingus’ “Duke Ellington’s Sound of Love,” including a tribute to his father, tenorman Tony “Big T” Lovano. Teamed with trumpeter Tom Harrell, pianist Kenny Werner, bassist Marc Johnson and drummer Paul Motian, Lovano is heard throughout in his early prime, playing inventive and generally concise improvisations that were beginning to become distinctive.

On Worlds : Lovano excels on the tenor and soprano saxes as well as the obscure alto clarinet, and Silvano’s adventurous improvisations demonstrate that she was already quite distinctive in 19…

On Landmarks : Although the title of this CD makes it sound as if tenor-saxophonist Joe Lovano was performing veteran jazz classics on this date, all but one of the ten songs played by his quintet are actually Lovano originals. With strong assistance provided by guitarist John Abercrombie, pianist Ken Werner, bassist Marc Johnson and drummer Bill Stewart, Lovano often sounds like a mixture of Dewey Redman and early John Coltrane on his enjoyable set. His music has enough variety to hold one’s interest, Abercrombie is in particularly strong form and Lovano is consistently creative during the modern mainstream music.

On Sounds of Joy : The Lovano date is a tour de force. In, out, the blues, ballads, the man from Cleveland has it all covered, from A to Z and beyond.

On From The Soul : Joe Lovano heads a lineup with pianist Michel Petrucciani, bassist Dave Holland, and late drummer Ed Blackwell. It’s hard-edged, explosive playing all around, with Blackwell laying down his patented bombs while Petrucciani and Holland converge behind Lovano’s dynamic solos.

On Universal Language : Universal Language is one of Joe Lovano’s most ambitious and successsful albums, an attempt to prove the cliche that music is indeed the universal language. He does this by writing a set of ten original compositions that cover a broad spectrum of sounds and styles, from hard bop to worldbeat-influenced post-bop. His band — trumpeter Tim Hagans, drummer Jack DeJohnette, pianist Kenny Werner, vocalist Judi Silvano and bassists Charlie Haden, Scott Lee and Steve Swallow — handle the subtleties of the music expertly, bringing the melodic themes into unexpected territory. Silvano’s voice is used as texture, not a lead instrument, which helps give the music complexity and an otherworldly depth. It’s an unabashedly adventurous and risky project, and it works frighteningly well.

On Tenor Legacy : Joe Lovano welcomes Joshua Redman to his sextet set (which also features pianist Mulgrew Miller, bassist Christian McBride, drummer Lewis Nash and percussionist Don Alias) and, rather than jam on standards, Joe Lovano composed five new originals, revived three obscurities and only chose to perform two familiar pieces. By varying the styles and instrumentation (for example “Bread and Wine” does not have piano or bass), Lovano has created a set with a great deal of variety and some surprising moments. The two tenors (who have distinctive sounds) work together fine and some chances are taken. This matchup works well.

On Ten Tales : …melody is never far from the forefront here, thanks to Lovano’s deep lyricism and Romano’s easygoing pulse; even their most abstract excursions, like a bristling Dragons Are, seem rooted in song. Drawing equally from the lexicon of John Coltrane and Sonny Rollins, Lovano strikes an imploring chord that suffuses the length of the album.

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On Celebrating Sinatra : Tribute albums can seem tawdry at times: an effort by the artist to trade on the talent and reputation of another. At other times, they are transcendent, a happy confluence of inspiration and opportunity. This is definitely in the latter category. Saxophonist Joe Lovano has brought together a set of talents that would have the Rat Pack doing their own version of the Matinee Swoon.

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On Flying Colors : The art of the duo, dual reflection, appears to be gradually replacing the navel gazing solo impressionism that was such a vogue step in the wake of Keith Jarrett’s inward visionings of the ’70s. Many artists are finding the unfettered engagement of a sole collaborator to be a neat way of playing largely unencumbered while still engaging one of the basic elements of jazz-interaction between instruments. Such is the case with this issue from one of the tenor sax titans of our time and the exciting piano stylings of a man equally at home with montuno and Monk.

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On Trio Fascination: Edition One : Listeners whose first exposure to Joe Lovano was his Blue Note output of the 1990s might assume that Quartets (recorded at New York’s famous Village Vanguard) was his first live album. But in fact, Worlds is a live recording that was made before Lovano signed with Blue Note and became a such a huge name in the jazz world. Recorded at the Amiens International Jazz Festival in France on May 5, 1989, Worlds finds the saxman leading a group that includes his wife, Judi Silvano, on vocals, Bill Frisell on guitar, Tim Hagans on trumpet, Gary Valente on trombone, Henri Texier on bass, and Paul Motian on drums. Lovano excels on the tenor and soprano saxes as well as the obscure alto clarinet, and Silvano’s adventurous improvisations demonstrate that she was already quite distinctive in 1989; nor are Frisell’s meaty solos anything to complain about. Nonetheless, this is hardly a performance that goes out of its way to be accessible — classical-influenced post-bop pieces like “Tafabalewa Square,” “Spirit of the Night,” and “Round Dance” are as angular as they are cerebral and abstract. But if the listener is willing to accept this uncompromising, challenging CD on its own terms, the rewards are abundant.

On Friendly Fire : Track after track, Lovano and Osby confirm their marquee status. Consistently, their flinty exchanges provoke them to go beyond their usual high standards of passionate intelligence.

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On Friendly Fire : The teaming of Joe Lovano and Greg Osby, two of the most exciting saxophonists of the ’90s, is kind of a dream come true, and it’s a pleasure to say that Friendly Fire doesn’t disappoint. True, it may not be as adventurous as some listeners may have hoped for, but it’s undoubtedly vibrant hard-bop with an evident adventurous streak. Lovano and Osby are both first-class improvisers, and they turn in dynamic performances throughout the album, whether it’s on originals or standards. They turn Friendly Fire into a compelling listen that’s the musical equivalent of the title’s promise.

On Flights of Fancy: Trio, Fascination, Volume 2 : 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.

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On Viva Caruso : Viva Caruso is easily one of tenor saxophonist Joe Lovano’s most ambitious and enjoyable recordings…(and)finds the reedman adapting orchestral melodies and harmonies to a jazz format…Lovano reworks many of the songs the singer recorded that are compiled on the Nimbus CD …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.

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On I’m All For You : The tenor saxophonist Joe Lovano works in many forms. He has had a trio with Bill Frisell and Mr. Motian for 20 years that refashions old jazz standards and originals into weird, hiccuping ad-libbed journeys; on recent albums for Blue Note, he has been dealing with large-ensemble be-bop as well as operatic themes arranged for unusual instrumentation and wordless vocals. But at bottom he’s a soulful, note caressing, tradition loving tenor player, and the music on ‘‘I’m All for You’‘ (Blue Note, May 4) might come closest to his essence.

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On Streams of Expression : 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.

Gruff-toned, melodically gifted and thoughtfully fluent, the saxophonist revelled in the creative freedom and intuitive support of a premier rhythm section.

No matter the mood or the tempo, Lovano delivered the kind of play that made one forget his prodigious technique and instead fall under the spell of his continually unfolding story line.

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…a savior has been slowly materializing in the nineties—the astonishing tenor saxophonist and composer Joe Lovano.

A master of his Promethean craft, the tenor saxophonist strikes a balance between passion and intellect as he ventures from the touchstone of lyricism to the outer limits of free expression. . . he is surely one of the most exciting, a sublimely confident player with provocative musical ideas and the vigor to bring them crying forth.

Lovano . . .fully justifies the growing view of him as an important, world-class jazz talent.

Move over Pavarotti, the greatest Italian tenor around today isn't Luciano, but Lovano.

On first look, the idea Joe Lovano is presenting this week at the Village Vanguard seems no more than eclecticism, the order of the day. Mr. Lovano, the saxophonist, has four musicians behind him, including Idris Muhammad and Joey Baron, drummers of wildly different stripes. In the week’s first set, on Tuesday, the drummers — and the others — drifted in and out at the bandleader’s invitation. Sometimes the drummers played together, sometimes they switched off between choruses, sometimes one just watched and listened. The different palettes of the pieces could accommodate two clarinets and bass, or saxophone and drums alone, or all five players at once. But looking more closely, it is rare that a jazz bandleader at Mr. Lovano’s level lays himself open to such chance and playfulness.

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