Joe Lovano Nonet Live in Paris

The Joe Lovano Nonet Live in Paris, at New Morning, February 19, 2001, featuring Joe Lovano, Steve Slagle, Ralph Lalama and Gary Smulyan, saxes; Barry Reis, trumpet; Larry Farrell, trombone; John Hicks, piano; Dennis Irwin, bass; and Lewis Nash on drums.
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, and 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 '60s, listening to such musicians as John Jazz Video Guy Recommends
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amzn.to/3CDQ5J... 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 Jazz Video Guy Recommends
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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 to 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's wife, vocalist Judi Silvano, has appeared on a number of the saxophonist's Blue Note releases, including 1992's Universal Language and 1994's Rush Hour. Lovano has received a number of Grammy nominations for his work on Blue Note. His 1996 album, Quartets: Live at the Village Vanguard, was named Jazz Album of the Year by readers of Down Beat magazine.
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 (on which Judi Silvano also appeared), various bop-era stalwarts like 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 pianist Hank Jones. Joyous Encounter followed in spring 2005, with Streams of Expression appearing on Blue Note a year later. Lovano once again paired up with Jones for the live duets album Kids: Duets Live at Dizzy's Club Coca-Cola in 2007.

[@trane1959]

must be Bret. I've been wanting to do this for a long time, but thank you bret for being such a good friend to Joe Lovano. The film footage you have captured is irreplacable and to a true superfan like me, provides a unique eye to "Da Man." Next he needs to record an album with the VJO.

[@MarTTy4653]

Barry has a great trumpet sound, his playing on Theme for Ernie is outstanding.

[@AislanSousa]

Steve Slagle tambem fez historia aqui no brasil, lembro do album high life que ele gravou aqui com os brasileiros, foi um dos melhores saxofonistas que passou por aqui até agora!!! Obrigado Steve Slagle... Fiquem com DEUS.. abrçs Aislan bass

[@obergssin]

Really great trumpet solo ...!

[@JazzVideoGuy]

Amen

[@electrojazz14]

amazing

[@JazzVideoGuy]

good idea! THE JVO featuring JL

[@miomao69]

Many thks and congratulation

[@mysakmike1]

@trane1959 ... talking about this trumpet solo..I mean...the time..the sound..the harmony outlines he plays....."something like "I don't dig his playing" would be the definitelly max you could write here ...someday you will hear how great this is ...

[@MrCoolDude506]

@johnnymike1213 this song is called Hot House, composed by Tadd Dameron

[@JazzVideoGuy]

@smokeydude Gentlemen, we must remember, one man's Kenny G. is another's Albert Ayler.

[@charlesbarry971]

Big sound

[@JazzVideoGuy]

yup

[@agussy3318]

Great Bari player....

[@trane1959]

indeed, in the Mel Lewis Jazz Orchestra days

[@JasonSositko]

Some times my eyes and ears glaze over when I hear such minutia. Trying to describe every nuance of something bores the heck out me. I have this DVD, I think it is a fine concert, and all play beyond my expectations. To say Lovano has no substance on this concert is absolute bovine scatology. Fact is, I found this DVD to be some damn fine cookin' shit. I have listened to enough Music and Jazz the last 30 plus years to know what "sounds" good and what doesn't. The Trumpet Player is having trouble putting air in his horn as one said: Give me a break. "Flatlining phrases?" "notes Fall off?" No wonder so many people hate jazz.

[@intrepidpooch]

@johnnymike1213 Same changes as What Is This Thing Called Love.

[@JazzVideoGuy]

Well, Joe and Richie are excellent players. But Joe uses Barry and there must be a reason.

[@auroradarienzo]

[@strkr1652]

i wonder what kind of mouth piece gary uses. does anyone know?

[@johnnymike1213]

anybody know what song this is??? i'm dying to find out! lol

[@56conn6h]

Nice solo Larry! Bach 36?

[@tracezacur6784]

what song is this?

[@JanM351531351]

Hot House

[@trane1959]

larry farrell

[@kujaz2]

hot house

[@trane1959]

@smokeydude Yeah, I'm fucking seriuos. If you consider his own voice includes not makine the changes, which I can, you find your guy. Just because he moves around all jazzy like and has some jive ass red jacket, doesn't make him hip. He struggles through the section parts, sounded like he's got embouchure issues, and then takes some sorry ass solo when he's surrounded by badasses. You can keep him.

[@mysakmike1]

..or you will never do..

[@JVTeragarden]

10 minutes of self-indulgence, by a group that looks like they dressed to go shopping at Home Depot, and somehow found themselves on stage. Excellent individual playing, though, somewhere along the way, jazz players decided decent stage presence wasn't cool enough.

[@Cantbuyathrill]

Joe Lovano's solos here have no substance; he seems to be looking for something to play but ends up with flatlining phrases, whose notes fall off continually. The trumpet player has trouble putting air into the horn, his fingers keep playing but there's no air pressure to carry them out of the instrument.

[@ericmatthews2313]

You know, it's always best to not comment and possibly be thought a fool than to post this and prove it.