THE KALEIDOSCOPE QUINTET — Dancing On The Edge (2020) FLAC (tracks), lossless

Tracklist :
1    Topsy Turvy 10:10
Composed By – Joe Lovano
2    Day And Night 15:30
Composed By – David Liebman
3    Blackwell's Message 18:02
Composed By – Joe Lovano
4    There Is No Greater Love 8:25
Composed By – Isham Jones
5    Get Me Back To The Apple 10:37
Composed By – David Liebman
Credits :
Bass – Tony Marino
Drums, Liner Notes, Producer [Produced By] – Michael Stephans
Tenor Saxophone, Flute, Producer [Produced By] – Joe Lovano
Tenor Saxophone, Soprano Saxophone, Flute, Producer [Produced By] – David Liebman
Voice, Featuring, Painting [Cover Painting] – Judi Silvano

STEVE KUHN TRIO W/ JOE LOVANO – Mostly Coltrane (2009) FLAC (tracks+.cue), lossless

Steve Kuhn was the original pianist in the John Coltrane Quartet, though he was replaced by McCoy Tyner after two months, as Tyner had been Coltrane's initial choice. Though he never recorded with Coltrane, he is steeped in the late saxophonist's music; this tribute covers music from many phases of his career. With tenor saxophonist Joe Lovano, bassist David Finck, and drummer Joey Baron (the latter two being part of the pianist's working trio), Kuhn had the challenge of tackling mostly well-known Coltrane compositions and standards without sounding like a clone, even though he was utilizing the same instrumentation. Fortunately, Kuhn's approach to playing is very distinctly different from McCoy Tyner, while any hints of Coltrane's influence on Lovano are brief. Billy Eckstine's "I Want to Talk About You" shimmers in the pianist's reserved, lyrical trio setting (omitting saxophone), while "The Night Has a Thousand Eyes" bursts with energy, with Lovano making a delayed entrance well into the piece. One of the most unusual tracks is "Spiritual," with Lovano playing the tárogató, an Hungarian reed instrument that is related to the oboe, sounding a bit like a soprano sax but with a warmer, less shrill sound. Their extended workout of this Coltrane favorite is more reserved than the composer's several recordings, but here the quartet is at its most adventurous. Kuhn also explores late-period Coltrane songs, such as the meditative "Jimmy's Mode" (showcasing Finck) and the turbulent avant-garde-ish "Configuration," both of which remained unissued until 1994. Mostly Coltrane easily stands out as one of the best CDs among the countless tributes to John Coltrane and is one of Steve Kuhn's essential recordings within his extensive discography. Ken Dryden
Tracklist :
1    Welcome    4:56
 John Coltrane
2    Song Of Praise    7:26
 John Coltrane
3    Crescent    6:20
 John Coltrane
4    I Want To Talk About You    5:56
 Billy Eckstine
5    The Night Has A Thousand Eyes    8:41
 Buddy Bernier / Jerome Brainin
6    Living Space    5:08
 John Coltrane
7    Central Park West    3:46
 John Coltrane
8    Like Sonny    6:00
 John Coltrane
9    With Gratitude    3:37
 Steve Kuhn
10    Configuration    4:19
 John Coltrane
11    Jimmy's Mode    6:53
 John Coltrane
12    Spiritual    8:15
 John Coltrane
13    Trance    5:24
  Steve Kuhn
Credits :
Double Bass – David Finck
Drums – Joey Baron
Piano – Steve Kuhn
Producer – Manfred Eicher
Tenor Saxophone, Tárogató [Tarogato] – Joe Lovano

JOE LOVANO NONET — On This Day At The Vanguard (2003) FLAC (tracks+.cue), lossless

Recorded live at the Village Vanguard, On This Day...At the Vanguard is saxophonist Joe Lovano's first recording with his award-winning nonet since the release of 52nd Street Themes in 2000. Having recorded in a variety of settings ranging from those of big-band leaders Woody Herman and Mel Lewis to duets with Mulgrew Miller on Tenor Legacy to quartets featuring such stellar artists as Dave Holland, John Scofield, and Al Foster (collectively known as Scolohofo), Joe Lovano proves with this CD that his artistry remains highly adaptable to any musical setting. Opening the program with the first of two originals written for this recording is Lovano's swinging "At the Vanguard." It has a harmonic sequence based on "Stompin' at the Savoy," and features outstanding solos by Lovano, alto saxophonist Steve Slagle, trumpeter Barry Ries, and pianist John Hicks. "Focus" and John Coltrane's "After the Rain" offer listeners two exceptional contrasts of Lovano's playing style, while "On This Day Just Like Any Other" is a 15-minute free jazz offering with amazing improvisations that Lovano wrote around the time drummer Billy Higgins passed away. The recording closes with "My Little Brown Book," a beautiful, serene ballad that returns the music to the quartet sound and served as the show's encore. Overall, On This Day...At the Vanguard captures the essence of Lovano's reverence and enthusiasm for the jazz venue that has supplied a great deal of his musical inspiration over the course of his jazz career. Paula Edelstein
Tracklist :
1    At The Vanguard 9:30
Composed By, Arranged By – Joe Lovano
2    Focus 8:09
Arranged By – Willie Smith
Composed By – Tadd Dameron
3    After The Rain 7:34
Arranged By – Steve Slagle
Composed By – John Coltrane
4    Good Bait 14:09
Arranged By – Joe Lovano
Composed By – Tadd Dameron
Orchestrated By [Orchestration] – Willie Smith
5    Laura 5:22
Arranged By – Joe Lovano, Willie Smith
Composed By – David Arksin
Orchestrated By [Orchestration] – Willie Smith
6    On This Day (Just Like Any Other) 15:22
Composed By, Arranged By – Joe Lovano
7    My Little Brown Book 9:04
Composed By – Billy Strayhorn
Credits :
Alto Saxophone – Steve Slagle
Baritone Saxophone – Scott Robinson
Bass – Dennis Irwin
Drums – Lewis Nash
Piano – John Hicks
Tenor Saxophone – George Garzone, Joe Lovano, Ralph Lalama
Trombone – Larry Farrell
Trumpet – Barry Ries

DANILO PÉREZ — Danilo Pérez (1992) FLAC (tracks+.cue), lossless

Tracklist :
1     Panamá Libre 4'07
Danilo Pérez
2     Serenata 2'42
Carlos Franzetti
3     Alfonsina y el Mar 7'49
Félix Luna / Ariel Ramírez
4     Solo Contigo Basta 5'24
Piloto / Vera    
5     Irremediablemente Solo 8'24
Avelino Muñoz
6     Body and Soul 6'57
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
7     Claudio 3'33
Danilo Pérez
8     Time on My Hands 10'01
Harold Adamson / Mack Gordon / Vincent Youmans
9     Friday Morning 4'50
Danilo Pérez
10     Skylark 3'32
Hoagy Carmichael / Johnny Mercer
Credits :
Bass – Santi Debriano
Drums – Jack DeJohnette
Piano – Danilo Perez
Tenor Saxophone, Soprano Saxophone – Joe Lovano
Vocals – Ruben Blades

MAUCHA ADNET — The Jobim Songbook (2006) APE (image+.cue), lossless

The lack of liner notes doesn't give much clue as to how long Maucha Adnet has been active professionally as a vocalist, though a quote from Antonio Carlos Jobim indicates that she toured with the late, legendary composer. Her deep, soulful voice is very appealing, similar to that of Leny Andrade. Accompanied by a mix of Brazilian and American musicians, including pianist Helio Alves, flugelhornists Claudio Roditi and Michael Brecker, trombonist Jay Ashby, guitarists Mario Adnet and Romero Lubambo, bassist Nilson Matta and drummer Duduka Da Fonsaca, she is obviously very familiar with a wide range of Jobim's compositions, covering both internationally known hits and pieces that have received less exposure outside of Brazil. The focus is on the singer, with occasional piano or guitar solos, with the brass and reed instruments providing background colors. She scats in unison with an unidentified male singer during the introduction to "Chega De Saudade" before swinging its joyous lyrics, with Alves switching to electric piano. She brings more depth to "Aquas de Marco" (The Waters of March)" than most singers, while Adnet's understated interpretation of "Outra Vez" is also welcome.  Ken Dryden  
Tracklist :
1 Vivo Sonhando 4:37
2 Só Tinha de Ser Com Você 4:19
3 Insensatez 4:57  
4 Ela é Carioca 4:33  
5 Chega de Saudade 4:54  
6 Samba Do Avião 5:26  
7 Águas de Março 3:55
8 Meditacão 3:59  
9 Desafinado 4:59  
10 Corcovado 4:29  
11 Outra Vez 5:10  
12 Garota de Ipanema 6:01  
13 Água de Beber 4:51
Credits :
Acoustic Bass – Nilson Matta
Acoustic Guitar – Romero Lubambo
Acoustic Guitar, Arranged By – Mario Adnet
Drums – Duduka Da Fonseca
Flugelhorn – Claudio Roditi, Randy Brecker
Piano – Alfredo Cardim, Helio Alves
Saxophone – Joe Lovano
Trombone – Jay Ashby
Vocals, Producer – Maucha Adnet
Written-By – A.C. Jobim, N. Medonça (tracks: 8, 9), V. de Moraes (tracks: 3, 5, 13)

RAY BROWN TRIO — Some of My Best Friends Are ... The Sax Players (1996) FLAC (tracks+.cue), lossless

As a follow-up to bassist Ray Brown's previous record in which he collaborated with several of his favorite pianists, Some of My Best Friends Are...The Sax Players features six major saxophonists (tenors Joe Lovano, Ralph Moore, Joshua Redman and Stanley Turrentine plus altoists Benny Carter and Jesse Davis) on two songs apiece with his regular trio. Although more than 60 years separate the ageless Carter from Redman, each of the saxes originally developed their own voice in the straight-ahead jazz tradition. Highlights of the colorful set include Benny Carter's playful rendition of "Love Walked In," Moore's cooking solo on "Crazeology" (a Benny Harris bop classic which the record mistakenly lists as written by Bud Freeman), Davis ripping through "Moose the Mooche" and Turrentine's romp on the blues "Port of Rico." Pianist Benny Green and drummer Gregory Hutchinson provide suitable accompaniment (Green's solos are consistently excellent) and all dozen of the songs are successful and swinging. As an extra bonus, on the latter part of the CD each of the saxophonists has a brief chat (between 26 seconds and a minute apiece) with Brown about their early influences. There is so much good feeling and obvious mutual respect shown that one wishes these talks were at least twice as long; the Benny Carter segment is most memorable. This well-conceived project is easily recommended. Scott Yanow   Tracklist & Credits :

LEE KONITZ - Rhapsody (1995) FLAC (tracks+.cue), lossless

Lee Konitz's Evidence release has seven selections from the veteran altoist that utilize different all-star personnel. The performances all have a similar commitment to relaxed and melodic freedom, but some work better than others. "I Hear a Rhapsody" (featuring a haunting vocal by Helen Merrill) precedes a more abstract "Rhapsody" (titled "Lo-Ko-Mo-And Frizz") which has wandering interplay by Konitz (on alto, soprano, and tenor), Joe Lovano (switching between tenor, alto clarinet, and soprano), guitarist Bill Frisell, and drummer Paul Motian. Jay Clayton's beautiful voice and adventurous style is well displayed on "The Aerie," and baritone great Gerry Mulligan sounds reasonably comfortable on a free improvisation with Konitz and pianist Peggy Stern, but a fairly straightforward vocal by Judy Niemack on "All the Things You Are" is followed by an overlong (19-minute) exploration of the same chord changes (renamed "Exposition") by the quartet of Konitz, clarinetist Jimmy Giuffre, pianist Paul Bley, and bassist Gary Peacock; their different approaches never really mesh together, and this selection is a bit of a bore. The final performance, an extroverted duet by Konitz (on soprano) and flügelhornist Clark Terry (titled "Flyin': Mumbles and Jumbles") adds some badly needed humor to the set. While one can admire Lee Konitz for still challenging himself after all this time, some of the dryer material on the CD (especially the two quartet numbers) should have been performed again; maybe the next versions would have been more inspired. Scott Yanow  
Tracklist :
1     I Hear a Rhapsody 4:31
Jack Baker / George Fragos / Dick Gasparre
Alto Saxophone – Lee Konitz
Piano – Peggy Stern
Vocals – Helen Merrill
2     Lo-Ko-Mo-And Frizz 12:05
Bill Frisell / Lee Konitz / Joe Lovano / Paul Motian
Alto Saxophone, Soprano Saxophone, Tenor Saxophone – Lee Konitz
Drums – Paul Motian
Guitar – Bill Frisell
Tenor Saxophone, Alto Clarinet, Soprano Saxophone – Joe Lovano
3     The Aerie 7:11
Peggy Stern
Alto Saxophone – Lee Konitz
Bass – Ben Allison
Drums – Jeff Williams
Piano – Peggy Stern
Vocals – Jay Clayton
4     Trio, No. 1 8:52
Lee Konitz / Gerry Mulligan / Peggy Stern
Baritone Saxophone – Gerry Mulligan
Piano – Peggy Stern
Soprano Saxophone – Lee Konitz
5     All the Things You Are 5:07
Oscar Hammerstein II / Jerome Kern
Guitar – Jean François Prins
Soprano Saxophone – Lee Konitz
Vocals – Judy Niemack
6     Exposition 19:00
Paul Bely / Paul Bley / Jimmy Giuffre / Lee Konitz / Gary Peacock
Bass – Gary Peacock
Clarinet – Jimmy Giuffre
Piano – Paul Bley
Soprano Saxophone, Alto Saxophone – Lee Konitz
7     Flyin': Mumbles and Jumbles 5:55
Lee Konitz / Clark Terry
Flugelhorn, Scat – Clark Terry
Soprano Saxophone, Scat – Lee Konitz

JOHN ZORN - Stolas : Book Of Angels Volume 12 (Masada Quintet ft. Joe Lovano) (2009) FLAC (tracks+.cue), lossless

For this very special release in The Book of Angels series, Zorn has brought together five of the most acclaimed musicians in modern jazz to perform nine of his most distinctive and lyrical compositions. Truly a jazz supergroup, these five master musicians explore Zorn's beautiful and exotic tunes with profound melodic and harmonic knowledge and a depth of feeling that is a joy to hear. One of the most breathtaking CDs in the entire Masada series--a touch of the sublime from the beautiful new Masada Quintet! TZADIK
Tracklist :
1    Haamiah    4:20
2    Rikbiel    5:47
3    Psisya    8:26
4    Sartael    4:50
5    Tashriel 4:03
6    Rahtiel    7:56
7    Tagriel    13:30
8    Serakel    5:06
9    Rigal    8:59
Credits :
Composed, Producer, Alto Saxophone (6) – John Zorn
Bass – Greg Cohen
Drums – Joey Baron
Piano – Uri Caine
Tenor Saxophone – Joe Lovano
Trumpet – Dave Douglas
Illustration – Jarrault

Dr. LONNIE SMITH - Evolution (2016) FLAC (tracks+.cue), lossless

Since Hammond B-3 specialist Lonnie Smith left Blue Note in the '70s, the largely self-taught musician has added the "Dr." to his name, adopted a traditional Sikh turban as a distinctive, if enigmatic style choice (it's unclear if he follows the religion), and continued to release a steady stream of highly regarded soulful well before the 21st century came around. With 2016's Evolution, Smith returns to Blue Note, his first studio album for the label since 1970's Drives. Produced by Don Was, Evolution is one of the most robust albums of his career. Where his previous few albums found him working in a trio format, on Evolution, Was surrounds Smith with various small group configurations featuring a bevy of post-bop, funk, and soul-ready musicians including drummers Jonathan Blake and Joe Dyson, guitarist Jonathan Kreisberg, trumpeters Keyon Harrold and Maurice Brown, and others. Also joining Smith here are several jazz luminaries including genre-bending pianist Robert Glasper, whose glassy piano tone rubs nicely against Smith's burnished Hammond warmth on "Play It Back." Similarly, saxophonist Joe Lovano, who first made his debut on Smith's 1975 effort Afrodesia, joins in on several cuts, including a reworking of "Afrodesia" and the slow-jam ballad "For Heaven's Sake." While Smith is the star of Evolution, the expanding group sound works well with his expansive approach to funk-jazz and the cuts with Harrold and Brown bring to mind the energetic hip-hop-inflected jazz of the Roots. Ultimately, it's Smith's juicy, nuanced, Hammond B-3 sound, deepened by over 50 years of experience, that makes Evolution such a career pinnacle. by Matt Collar  
Tracklist :
1     Play It Back 14:05
Dr. Lonnie Smith
2     Afrodesia 8:20
Dr. Lonnie Smith
3     For Heaven’s Sake 5:52
Dr. Lonnie Smith
4     Straight No Chaser 6:43
Thelonious Monk
5     Talk About This 7:20
Dr. Lonnie Smith
6     My Favorite Things 11:10
Oscar Hammerstein II / Richard Rodgers
7     African Suite 9:52
Dr. Lonnie Smith
Credits :
Bass Clarinet – John Ellis (faixas: 3)
Drums – Joe Dyson (faixas: 1 to 3, 5, 7), Jonathan Blake
Flute – John Ellis (faixas: 7)
Guitar – Jonathan Kreisberg
Organ [Hammond B3 Organ], Keyboards – Dr. Lonnie Smith
Piano – Robert Glasper (faixas: 1)
Soprano Saxophone ["G" Mezzo Soprano Saxophone] – Joe Lovano (faixas: 2)
Tenor Saxophone – Joe Lovano (faixas: 3), John Ellis (faixas: 1, 2, 5)
Trumpet – Keyon Harold (faixas: 1), Maurice Brown (faixas: 2, 5)

RAY BARRETTO AND NEW WORLD SPIRIT - Portraits in Jazz and Clave (2000) FLAC (tracks+.cue), lossless

In this program of mainly Afro-Cubanized jazz standards, conga man Barretto assembled an all-star group of friends to complement his regular working New World Spirit band. The icons include longtime friend Kenny Burrell, whose guitar playing is a key component in the makeup of every selection. Bassist Eddie Gomez, tenor saxophonist Joe Lovano and trombonist Steve Turre join such up-and-coming younger musicians as trumpeter John Bailey, saxophonist Adam Kolker and pianist John DiMartino. Second percussionist Bobby Sanabria is alongside, as is the oustanding trap drummer and longtime Barretto bandmate Vince Cherico. The recording is bookended by Duke Ellington's music. It's front-loaded with "The Mooche," ignited by a simmering bass and left-hand piano ostinato plucked from Horace Silver's "Senor Blues." Conch-shell moans from Turre and punchy congas intro this classic, with Burrell's second melody lead and horns on the first and third. "Cotton Tail" is a good swinger with Latin underpinnings and loads of Burrell (refer to Burrell and Barretto on Burrell's classic Blue Note date Midnight Blue). At the end of the CD is the lesser-known "Oclupaca," taken as a steamy cha-cha. Also included is Billy Strayhorn's Johnny Come Lately," which has clave/mambo rhythms buoying echoed trumpet and tenor lines talking back and forth. The interplay of this counterpoint is stunning, again kicked off by the fuse of Burrell's guitar. There's the fluttery horn intro and dueling tenors on John Coltrane's "Like Sonny," the slight tango-ish "Lamento Borincano" and its heavy dose of Latin Burrell, and the laid-back horns setting up demure-to-forceful piano by DiMartino on Wayne Shorter's "Go." Then there's Thelonious Monk's brisk and brusque "I Mean You," cooked by the unison horns to golden brown perfection with claves, montuno piano and a patented deft bass solo from the brilliant Gomez. A most Afro-Cuban "Cancion del Fuego Fatuo" is quite subtle, Burrell again the focal point with much to say beneath and above the surface. Of the many fine recordings Barretto has produced in the past 30 years as a leader, this ranks right up in the top three, due to the undeniable musicianship of his select guests, the innate ability of his own band, and the meticulous selection of jazz pieces whipped into tangy salsa. It's a winning, highly recommended combination. by Michael G. Nastos  
Tracklist :
1     The Mooche 6:56
Arranged By – Michael P. Mossman
Written-By – Duke Ellington
2     Cotton Tail 5:31
Arranged By – Michael P. Mossman
Written-By – Duke Ellington
3     Johnny Come Lately 5:27
Arranged By – John Di Martino
Written-By – Billy Strayhorn
4     Arranged By – Adam Kolker 7:16
Arranged By – Adam Kolker
Written-By – Manuel De Falla
5     I Mean You 6:40
Arranged By – Adam Kolker
Written-By – Thelonious Monk
6     Go 7:57
Arranged By – Adam Kolker
Written-By – Wayne Shorter
7     Like Sonny 4:34
Arranged By – Adam Kolker
Written-By – John Coltrane
8     Lamento Borincano 7:16
Arranged By – John Di Martino
Written-By – Rafael Hernandez
9     Oclupaca 6:06
Arranged By – Michael P. Mossman
Written-By – Duke Ellington
Credits :
Congas, Mixed By, Mastered By, Edited By, Producer, Liner Notes – Ray Barretto
Drums – Vince Cherico
Featuring, Bass – Eddie Gomez
Featuring, Guitar – Kenny Burrell
Featuring, Tenor Saxophone – Joe Lovano
Featuring, Trombone, Conch [Shells] – Steve Turre
Percussion – Bobby Sanabria
Piano – John Di Martino
Tenor Saxophone, Soprano Saxophone – Adam Kolker
Trumpet – John Bailey  

JOE LOVANO / MARILYN CRISPELL / CARMEN CASTALDI - Trio Tapestry (2019) FLAC (tracks+.cue), lossless

Though most often associated with his swinging post-bop albums for Blue Note, saxophonist Joe Lovano is no stranger to the ECM label. He first recorded with producer Manfred Eicher's storied German institution in 1981 for drummer Paul Motian's album Psalm, playing alongside bassist Ed Schuller and guitarist Bill Frisell. Since then he has made several appearances on the label, including further hits with Motian (who died in 2011), as well as pianist Steve Kuhn and guitarist John Abercrombie. With 2019's deeply atmospheric Trio Tapestry, Lovano takes his relationship with ECM to the next logical and long-awaited plateau: by leading his first session for the label. Joining him are longtime associates in pianist Marilyn Crispell and fellow Cleveland native/drummer Carmen Castaldi. Lovano first played with Crispell in 2006 in a group that included Motian. He's known Castaldi since he was a teenager, and also as a student at Boston's Berklee School of Music, where they both studied. Having started her career in the '70s playing free jazz, Crispell has evolved into a deeply nuanced and harmonically engaging performer whose style often works as a bridge between the avant-garde and more accessible playing. This in-between bridge is what Lovano's trio explores on a set of original compositions that work more as impressionistic sound explorations than traditional, standards-based improvisations. Silence plays a huge role in the trio's sound. "One Time In" opens with a skittering clang of cymbals and a gong, and then there's nothing until Lovano's mournful, bird-like saxophone breaks through the metallic glow. Similarly, "Sparkle Lights" begins as a piano/sax duo with Lovano and Crispell playing a hushed, diminished-sounding phrase that gives way to emptiness before the trio delicately push back against the silence with icy harmonic swells. Elsewhere, they take a more tangible approach, offering up the melancholy balladry of "Seeds of Change," and growl through the atonal Ornette Coleman-ism of "The Smiling Dog." Primarily however, tracks like the evocative "Mystic" (which sounds like it was recorded in a large church, or empty gorge), and the aptly titled "Gong Episode," remain enigmatic, as if Lovano and his bandmates are less interested in a playing music, than in playing the space around them. by Matt Collar 
Tracklist:
1 One Time In 3:41
Joe Lovano
2 Seeds of Change 5:13
Joe Lovano
3 Razzle Dazzle 3:40
Joe Lovano
4 Sparkle Lights 4:07
Joe Lovano
5 Mystic 8:25
Joe Lovano
6 Piano/Drum Episode 3:40
Joe Lovano
7 Gong Episode 2:01
Joe Lovano
8 Rare Beauty 6:18
Joe Lovano
9 Spirit Lake 3:49
Joe Lovano
10 Tarrassa 4:15
Joe Lovano
11 The Smilling Dog 2:55
Joe Lovano
Credits:
Drums, Percussion – Carmen Castaldi
Piano – Marilyn Crispell
Producer [Produced By] – Manfred Eicher
Tenor Saxophone, Tárogató [Tarogato], Gong [Gongs] – Joe Lovano

JOE LOVANO - Folk Art (2009) FLAC (tracks+.cue), lossless

Jazz is essentially an African-American folk art, elements not lost on Joe Lovano as he presents this all-original program of progressive music. His updated quintet Us Five is one of his freshest units in some time, with bassist Esperanza Spalding, the criminally underrated pianist James Weidman, and two stir-the-pot drummers in Francisco Mela and Otis Brown III. Together they fulfill Lovano's vision as a band that is not afraid to take many chances, stay within a bop-based tradition, and cut loose on many levels in terms of adding diverse elements to this mix of music. Lovano is noticeably restless, using his reliable tenor sax, but also straight alto, clarinet, and taragato. The drummers not only play their standard kits, but ethnic percussion instruments from many continents, while Spalding is maturing and growing exponentially into a formidable voice on her instrument. Weidman is simply brilliant throughout, largely ignored since his early days with Abbey Lincoln until now, but there's no reason he should be so underestimated or slighted. The title track is as intriguing as its concept, dipping into modal jazz via a stairstep melody and slipstream steady swing that staggers slightly (influenced by one beer?) punctuated by the drummer's "solo" and Weidman's outstanding bop step out. Always an outside-the-box thinker, Lovano's tenor stretches in unique, post-Coltrane mannerisms for "Us Five" surrounding his rhythm makers and the chords of the piano, while the band explores improvisation in no time during the wondrous "Ettenro," completely untethered by any standardized structure. The distinctive and most enjoyable "Dibango" is a slightly squawky funk with Lovano on taragato, up in a high, sustained register, a bit goofy, and very reminiscent of Don Pullen's great tune "Big Alice." "Powerhouse" is the straitlaced neo-bop tune à la Thelonious Monk that Lovano has always favored, his clarinet comes out on the delicate, serene soul blues "Page 4," and the appropriately titled "Wild Beauty" is not so much exotic as it is edgy within a ballad framework. Of the many excellent and diverse projects Joe Lovano has produced and won critical acclaim for, this ranks with his very best, as strong an album as he has ever produced, with musicianship at an extremely high level, and well-conceived compositions that continue to identify him a true original. Folk Art, close to his definitive statement, is highly recommended, and should be considered a candidate for Jazz Album of 2009.  by Michael G. Nastos  
Tracklist:
1 Powerhouse 4:04
Joe Lovano
2 Folk Art 10:06
Joe Lovano
3 Wild Beauty 7:17
Joe Lovano
4 Us Five 8:09
Joe Lovano
5 Song for Judi 5:46
Joe Lovano
6 Drum Song 8:30
Joe Lovano
7 Dibango 6:44
Joe Lovano
8 Page 4 5:52
Joe Lovano
9 Ettenro 8:12
Joe Lovano
Credits:
Bass – Esperanza Spalding
Drums, Bells [Ankle Bells], Gong [Ascending Opera Gong], Gong [Descending Opera Gong] – Otis Brown, III
Drums, Pandeiro [Pandero], Goblet Drum [Dumbek], Drums [Ethopian Drums], Bells [Ankle Bells] – Francisco Mela
Management [Esperanza Spalding] – Montuno Productions
Piano – James Weidman
Tenor Saxophone, Alto Saxophone [Straight Alto Saxophone], Tárogató [Taragato], Alto Clarinet, Saxophone [Aulochrome], Gong [Gongs] – Joe Lovano
Written-By – Joe Lovano

JOE LOVANO - Folk Art

 (2009) BLUE NOTE / FLAC (tracks+.cue), lossless

O Púbis da Rosa

JOHN ABERCROMBIE - Open Land (1999) APE (image+.cue), lossless

Here, Abercrombie grafts three soloists -- trumpeter Kenny Wheeler, tenor saxman Joe Lovano, and violinist Mark Feldman -- onto his organ trio and comes out with an absorbing set of elegantly textured, poly-styled music laced with his drifting, occasionally jagged yet never overbearing guitar. On the title track and, not unexpectedly, on "Free Piece Suit(e)," the sextet veers onto the outside, but they always do so in a relaxed ECM manner, without jangling any nerves. "Little Booker," a reversal of the names of the short-lived trumpeter, is the nicest track, outfitted with a memorable tune, and "That's for Sure" has an off-kilter, loose-jamming country feeling. Both Lovano and Wheeler play sparely and tastefully, and Feldman occasionally emits a gust of shock fiddling but mostly stays within lyrical bounds. Adam Nussbaum's drumming is loose, unpredictable, and adaptable; Dan Wall's organ discreetly lays in the background or steps forth in the usual Jimmy Smith-derived idiom.  by Richard S. Ginell
Tracklist:
1     Just in Tune    6:36   
John Abercrombie
2     Open Land    10:08   
John Abercrombie
3     Spring Song    8:59
John Abercrombie / Felix Mendelssohn
4     Gimme Five    7:23 
John Abercrombie
5     Speak Easy    6:43   
John Abercrombie
6     Little Booker    6:10 
John Abercrombie
7     Free Piece Suit(e)    6:56   
John Abercrombie / Mark Feldman / Joe Lovano / Adam Nussbaum / Dan Wall / Kenny Wheeler
8     Remember When   7:58  
John Abercrombie
9     That's for Sure    4:08
John Abercrombie
Credits
Drums – Adam Nussbaum
Guitar – John Abercrombie
Organ – Dan Wall
Tenor Saxophone – Joe Lovano
Trumpet, Flugelhorn – Kenny Wheeler
Violin – Mark Feldman

PAUL MOTIAN TRIO - It Should've Happened a Long Time Ago [1984]

This trio, the root of the Paul Motian Quintet that also included the late Jim Pepper and bass player Ed Schuller, is among the most "songish" that ECM ever recorded. All three men are masters of understatement and heartbreakingly beautiful melodic invention, and also possess a collective well of deep lyricism in their improvisations. They had another thing in common, all having been sidemen for many years before becoming bandleaders in their own right. In fact, Lovano was only then, in 1984, beginning to consider himself a bandleader. There isn't a display of ego anywhere on this recording or the quintet's wonderful The Story of Maryam (Soul Note 1074). Motian is credited with all the compositions here, but it's obvious they come from the collective. While the title track that opens the record is full of the lilting melodic invention Frisell is well known for, it is actually the short sonorous lines that Lovano feeds to Motian that illumine the cut and give it its sense of open space and interval. "Fiasco" is a study in three part counterpoint: From Frisell to Motian to Lovano, the fury of the improvisation is tempered only by dynamic restraint and the intention on the part of the trio to hear the harmonics they are creating as microtones. Elsewhere, such as on "India" and the closer "Two Women of Padua," the tonal registers of the guitars and saxophone become the voices in "songs" offered up in different emotional and musical circumstances, but in the manner of singing nonetheless. Intervallic invention here becomes its own m.o. and, given the depth of melodic interplay, a fluid musicality is ensured. This is one of the finest recordings that came from ECM in the '80s. Paul Bley led another, which featured Motian and Frisell -- as well as John Surman. This set is made of the kind of music that made Manfred Eicher's ECM such a force to be reckoned with. It placed three musicians in a context that was comfortable enough to make them want to sing to one another.  by Thom Jurek  
Tracklist
1 It Should've Happened a Long Time Ago 6:06
Paul Motian 
2 Fiasco 7:49
Paul Motian 
3 Conception Vessel 4:31
Paul Motian 
4 Introduction 3:05
Paul Motian 
5 India  7:26
Paul Motian 
6 In the Year of the Dragon 5:57
Paul Motian 
7 Two Women from Padua  5:13
Paul Motian 
Credits 
Drums, Percussion, Composed By, Photography By [Cover Photo] – Paul Motian
Guitar, Guitar Synthesizer – Bill Frisell
Tenor Saxophone – Joe Lovano

  PAUL MOTIAN TRIO - It Should've Happened a Long Time Ago 

[1984] ECM 1283 / CBR320 / scans

O Púbis da Rosa

THE JOHN SCOFIELD QUARTET - Meant to Be (1990) FLAC (image+.cue), lossless

Meant to Be features guitarist John Scofield's 1990 pianoless quartet on 11 of his compositions. During the best selections (such as "Big Fan" and "Mr. Coleman to You") one can hear the influence of not just the original Ornette Coleman Quartet but the Keith Jarrett/Dewey Redman Quintet. Joe Lovano's increasingly original tenor sound (mixing together John Coltrane, Dewey Redman, and even Eddie Harris on this set) works well with Scofield and the tight but loose rhythm section (bassist Marc Johnson and drummer Bill Stewart). "Eisenhower" (a slightly tongue-in-cheek, boppish romp) and "Some Nerve" (which uses New Orleans parade rhythms) are also memorable performances. The colorful and enjoyable set is modern mainstream music of the 1990s, stretching ahead while holding on to the roots of hard bop, funk, and fusion.  by Scott Yanow
Tracklist :
1 Big Fan 6:03
2 Keep Me In Mind 6:00
3 Go Blow 8:19
4 Chariots 6:02
5 The Guinness Spot 6:35
6 Mr. Coleman To You 6:02
7 Eisenhower 5:20
8 Meant To Be 7:07
9 Some Nerve 5:10
10 Lost In Space 6:30
11 French Flics 5:28
Credits :
Bass – Marc Johnson
Drums – Bill Stewart
Guitar, Composed By – John Scofield
Tenor Saxophone, Alto Clarinet – Joe Lovano