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Joe Lovano – Streams of Expression |
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by Matt Pivec
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 Streams of Expression | | Personnel:Joe Lovano, tenor saxophone, alto clarinet, Aulochrome; Tim Hagans, trumpet (1-5, 7-10); Barry Ries, trumpet (1-5, 7-10); Larry Farrell, trombone (1-5, 7-10); Steve Slagle, alto saxophone, soprano saxophone, flute (1-5, 7-10); George Garzone, tenor saxophone (1, 2, 7-10); Ralph Lalama, tenor saxophone, clarinet (1-5, 7-10); Gary Smulyan, baritone saxophone (1-5, 7-10); Charles Russo, clarinet, bass clarinet (3-5); Michael Parloff, flute (3-5); James Weidman, piano (3-5, 7) John Hicks, piano (1, 2, 8-10); Dennis Irwin, bass; Lewis Nash, drums. | | Tracks:Streams of Expression
1.Streams (Pt. I)
2.Cool (Pt. II)
The Birth of the Cool Suite
3.Prelude/Moon Dreams
4.Interlude No. 1/Move/Interlude No. 2
5.Boplicity/Postlude
6.Blue Sketches
7.Buckeyes
Streams of Expression
8.Enchantment (Pt. III)
9.Second Nature (Pt. IV)
10.The Fire Prophets (Pt. V)
11.Big Ben | |
Joe Lovano
Streams of Expression
Blue Note 0946 3 41092 2 2
Joe Lovano’s latest album Streams of Expression from Blue Note records has plenty to offer the listener. First, there is the collaboration between Lovano and Gunther Schuller. By reworking three gems from the 1949-50 Birth of the Cool recording sessions for Lovano’s ensemble, Schuller provides an opportunity for listeners to reconsider that music. Second, Lovano’s compositions continue to explore the boundaries between large group organization and small group freedom. His ensemble provides an excellent realization of this exploration by its performance of Lovano’s own Streams of Expression suite. Finally, Lovano continues to enlighten us as to the tonal and expressive capabilities of the saxophone.
The centerpiece of this album, Gunther Schuller’s The Birth of the Cool Suite, was commissioned in 2001 by the Monterey Jazz Festival as a tribute to Miles Davis’s 75th Anniversary. Due to travel restrictions in the fall of 2001, the piece was not performed or recorded at that time. Essentially, this album is the unveiling of his suite. In his complete album notes, Schuller tells us: “It was suggested that, in addition to replicating some of that music, I might elaborate and expand upon those pieces with my own musical language.” In this suite Schuller successfully refits three of the compositions (“Moon Dreams,” “Move,” and “Boplicity”) from the famous 1949-50 recording sessions for Lovano and his ensemble. He also composes four new short pieces (Prelude, Interlude No. 1, Interlude No. 2, Postlude) that serve as a framework for the Birth of the Cool arrangements.
I was very interested to hear how the tenor saxophone (an instrument not present in the original Birth of the Cool sessions) was accommodated by Schuller. “Moon Dreams” provides the most interesting uses of the tenor. In the initial portion of “Moon Dreams,” Lovano is assigned Lee Konitz’s portion of the original melody. Later in the same piece, Lovano is called upon to provide subtle, breathy improvised interjections to the ensemble passages. Finally, Lovano is completely given the musical foreground with an actual solo section. As a result of Schuller’s intimate knowledge of these compositions and Lovano’s musicianship, all of the additions or orchestrations involving the tenor saxophone are quite effective. In each of the three pieces, the original character has been maintained while allowing Lovano and his band members to put a bit of their own personality into this music. For a detailed explanation of the procedures used in the arrangement of the three Birth of the Cool pieces, visit Schuller’s complete notes at www.bluenote.com/streamsofexpression.
Lovano’s suite entitled Streams of Expression (each movement of which is dedicated to different musicians) comprises another significant portion of this album. Performed by his stellar eleven piece group, this work further explores the relationship between individual and collective expression, improvisation and composition, or as Lovano states, “organic and free within very structured pieces.” I found the results of this exploration to be fascinating.
There are many examples of Lovano’s music being “organic and free within very structured pieces.” Often, the organic or free characteristics are the result of seamless transitions between small group and ensemble passages. In “Streams,” for example, the ensemble freely moves between small group rubato improvisations and large ensemble section in tempo. Following the first ensemble passage of “Streams,” Lovano and the rhythm section again deliver a wonderful rubato improvisation. However, during this improvisation, both Lovano and Lewis Nash seem to foreshadow an upcoming tempo. Following a second rubato ensemble passage, Lovano sets the tempo with a one measure repeating figure. Each of the band members then repeats a one measure figure of his own. A new tempo, as well as a new compositional section, is then set by Lovano playing a different one measure repeating phrase. Once again, each member of the ensemble is assigned a complementary phrase. All of these transitions are delivered effortlessly by the musicians and are heard as natural by the listener.
Another of Lovano’s compositions that is “organic and free” is “Buckeyes.” At times the entire ensemble is executing composed material. However, the feel remains as relaxed as if the ensemble was a small group. This free and relaxed small group feel goes uninterrupted despite improvisational interludes, entrances of many different instruments, and tempo changes.
As always, Joe Lovano sounds great. His remarkable tonal capabilities make him one of the most instantly recognizable saxophonists in modern jazz. He can sound breathy, soft, and wistful as in the beginning of “Streams.” He can sound husky and authoritative as during his sermon on “Blue Sketches.” Lovano’s tonal qualities and expressive capabilities are so great, most of the time I don’t even hear a saxophone. I hear a human voice with a wide expressive range. When comparing the previously mentioned tracks, I could not help but think about a father who knows exactly when to put a consoling hand on his child’s shoulder and when to confidently stand up and intimidate a bit.
Lovano’s expressive capabilities are on full display in “Cool.” It is his improvised responses between the ensemble passages at the beginning of this piece that tell me everything I need to know. Using various expressive devices he manages to sound a bit bluesy with being clichÈd and also manages to sound emotional without being sappy. These brief improvised responses lead to his actual solo, which is swingin’ and remarkably expressive.
This section on expressive qualities leads to a brief discussion about Lovano’s use of the Aulochrome (essentially adjoined soprano saxophones with a mechanism allowing for independent or dual operation). It seems that it is not a gimmick, rather a logical choice in Lovano’s expressive developments. On “Big Ben,” the use of the Aulochrome (producing two versions of the same pitch) provides an expressive effect similar to certain Ornette Coleman/Don Cherry melodic executions.
In terms of the overall listening experience provided, this album is wonderful. Schuller’s The Birth of the Cool Suite provides an excellent means to reconsider this significant music. Lovano’s own compositions are adventurous and continue to explore the boundaries between small group and large group expression. Lovano’s saxophone playing is exceptional as usual. My only criticism of this album relates to the printed materials and packaging that contain this great music. First, I question the decision not to have Lovano’s Streams of Expression on consecutive tracks. An extended composition of this quality deserves to be heard in its entirety without the listener skipping through tracks. Second, evidently there was a miscommunication between Lovano and Blue Note Records. In Lovano’s liners, he lists seven parts to his Streams of Expression. On the back cover of the CD, only five of the movements are indicated as being part of this suite. Indeed, this is a minute detail that does not detract from the quality of the album. However, it seems that a detailed presentation should accompany such a strong musical statement.
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Matt Pivec |
| About the author: |
| Saxophonist Matt Pivec has performed with some of the great artists of jazz and popular music including: Ray Charles, The Temptations, Peter Erskine, Maria Schneider, the Rochester Philharmonic Pops Orchestra, and the national touring companies of Hairspray, 42nd Street, and The Producers. |
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