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CD |
| 4.670 Ft
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| 1. | Lady Luck
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| 2. | Charlie Chan
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| 3. | Lullaby
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| 4. | Little Rascal On A Rock
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| 5. | Budo
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| 6. | Soultrane
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| 7. | Kis Are Pretty People
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| 8. | Oh, What A Beautiful Mornin'
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| 9. | Oh! Look At Me Now
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| 10. | Four In One
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| 11. | Lazy Afternoon
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Jazz / Post-Bop
Joe Lovano - Sax (Tenor), Sax (Soprano), Producer
Bill Commerford Cover Art
Carla Leighton Art Direction, Design
Eli Wolf A&R
Gordon Jee Creative Director
Hank Jones Piano
Jeff Rothman Assistant Engineer
Keith Karwelies A&R
Kurt Lundvall Mastering
Loren Schoenberg Liner Notes
Michael Cuscuna Producer
Perry Greenfield Product Manager
Rob Macomber Engineer, Mixing
Todd Barkan Coordination
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
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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