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| 1. | Streams Of Expression: Streams
Part I
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| 2. | Streams Of Expression: Cool
Part II
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| 3. | The Birth of the Cool Suite: Prelude / Moon Dreams
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| 4. | The Birth of the Cool Suite: Interlude No. 1 / Move / Interlude No. 2
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| 5. | The Birth of the Cool Suite: Boplicity/ Postlude
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| 6. | Blue Sketches
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| 7. | Buckeyes
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| 8. | Streams Of Expression: Enchantment
Part III
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| 9. | Streams Of Expression: Second Nature
Part IV
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| 10. | Streams Of Expression: The Fire Prophets
Part V
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| 11. | Big Ben
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49th Annual GRAMMY Nominee for Best Large Jazz Ensemble Album
Jazz / Post-Bop; Hard Bop; Ballads
Hailed by the New York Times as "one of the greatest musicians in jazz history," saxophone giant Joe Lovano has distinguished himself for some three decades as a prescient and path-breaking force in creative music. He has earned praise not just for his compelling saxophone tone and improvisational ability, but also for his forward-thinking presentation of new musical ideas and ensemble concepts. Streams of Expression, Lovano's 18th album for Blue Note Records, unites disparate themes from his own discography, not to mention jazz history as a whole.
Streams of Expression reunites Lovano with the great composer, conductor, and musicologist Gunther Schuller (their first collaboration was Rush Hour, Blue Note, 1995), and draws upon everything from the cool school to late-era Coltrane, offering a holistic take on jazz, present and future. The album is comprised of two extended, multipart pieces (Streams of Expression Suite, Birth of the Cool Suite) and three stand-alone tunes ("Blue Sketches," "Buckeyes," "Big Ben") and features an augmented incarnation of Lovano's nonet from the albums 52nd Street Themes (2000) and On this Day . . . At the Vanguard (2003). Three of the tracks showcase Lovano in a trio setting, recalling his Trio Fascination series, regarded as a contemporary classic.
Joe Lovano
Active Decades: '70s, '80s, '90s and '00s
Born: Dec 29, 1952 in Cleveland, OH
Genre: Jazz
Styles: Ballads, Post-Bop, Hard Bop
Active during a period of jazz history when it seemed radical innovation was a thing of the past, Joe Lovano nevertheless coalesced various stylistic elements from disparate eras into a personal and forward-seeking style. While not an innovator in a macro sense, Lovano has unquestionably charted his own path. His playing contains not an ounce of glibness, but possesses in abundance the sense of spontaneity that has always characterized the music's finest improvisers. Lovano doesn't adopt influences -- he absorbs them -- so that when playing a standard, he exudes the same sense of abandon as when playing totally free (which, it should be pointed out, he does well, if infrequently). Lovano's most significant achievement is his incorporation of free and modal expressive devices into traditional chord-change improvisation.
Lovano is the son of the respected Cleveland saxophonist Tony "Big T" Lovano. Joe started playing alto sax as a child, taught by his father, who also introduced him to jazz. In his youth, Joe would hear many of the prominent jazz artists who passed through town, including Dizzy Gillespie, James Moody, Sonny Stitt, and Rahsaan Roland Kirk. Lovano began playing in jam sessions around Cleveland while still in his teens. Although thoroughly steeped in bebop, he also developed an interest in the jazz experimentalism of the 1960s, listening to such musicians as John Coltrane, Jimmy Giuffre, and Ornette Coleman. Following high school, Lovano moved to Boston and attended the Berklee School of Music. Fellow students included such future collaborators as John Scofield, Bill Frisell, and Kenny Werner. While at Berklee, Lovano discovered modal harmony and opened up to the broad areas of tonal freedom that he found so attractive in the music of John Coltrane, among others.
After leaving Berklee, Lovano worked with organists Lonnie Smith (with whom he made his recording debut) and Jack McDuff. He toured with Woody Herman from 1976-1979. After leaving Herman, Lovano settled in New York City, where he quickly established himself. He joined drummer Mel Lewis' orchestra in 1980; he played the band's regular Monday night gigs at the Village Vanguard until 1992. He also recorded several times with the band. Lovano would also work with Elvin Jones, Carla Bley, Lee Konitz, Charlie Haden, and Bob Brookmeyer, among others. He joined drummer Paul Motian's band in 1981 (which also included his Berklee classmate Frisell), and played with guitarist John Scofield's quartet. Lovano began leading dates for Blue Note in the '90s, and continued doing so throughout that decade and into the next, recording in a variety of contexts ranging from trios to larger woodwind and brass ensembles. Lovano received a number of Grammy nominations for his work on Blue Note. His 1996 album Quartets: Live at the Village Vanguard (Blue Note) was named Jazz Album of the Year by readers of Downbeat Magazine. Lovano's wife is vocalist Judi Silvano.
Since then, Lovano has split his time in the studio between releasing impressive original recordings and albums reinterpreting the work of artists who have influenced him, including vocalist Frank Sinatra on 1996's Celebrating Sinatra, various bop-era stalwarts including pianist Tadd Dameron on 2000's 52nd Street Themes, and opera tenor Enrico Caruso on 2001's Viva Caruso. In 2004, the always unpredictable reedman released the ballads album I'm All for You, featuring journeyman pianist Hank Jones. Joyous Encounter followed in spring 2005 with Streams of Expression appearing on Blue Note a year later. Lovano once agian paired up with Jones for the live duets album Kids: Duets Live at Dizzy's Club Coca-Cola in 2007.
---Chris Kelsey, All Music Guide |
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