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Home , At the Village Vanguard, Celebrating Sinatra, Dream Keeper, Ed Schuller, Ernie Krivda, From the Soul

21.

o other musician Bailey, Bill Hardman, the from has great tenor player Joe N ever achieved the Alexander, and ." world-wide acclaim that Because of his family, Tony saxophonist Joe Lovano got decided to remain in in the 1990s and early 2000s. Cleveland. But he was so He was voted "Jazz Artist respected that he often shared of the Year" by DownBeat bandstands with such artists magazine critics and readers as and Flip Phillips in 1995, 1996 and 2001. He when they came to Cleveland. was named "International Drummer Lawrence Artist of the Year" by Jazz "Jacktown" Jackson, who Report magazine in 1995. frequently played with the DownBeat called Cleveland elder Lovano, said, "He native Lovano "the very wasn't as advanced (as Joe epitome of the ' 90s became). He didn't have the professional jazzman." same command of his DownBeat 's Larry instrument, but Tony was a Blumenfeld wrote, "The sheer hell of a player!" breadth and ambition of When Joey, as he was Lovano's artistic endeavors called, was about 10, his reflect a consistent level of father began giving his son achievement. Lovano raises serious lessons and he began the level of the game and of listening to his father' s those around him." Joe Lovano records , particularl y The DownBeat article saxophonists , said Lovano "knows his history, not just the history of and Lester Young, and trumpeter Miles the music, but the value of his personal history." Davis. When Joe was II, his father bought him a King That personal history began in Cleveland where Super 20 . Within a year, his father Lovano was almost literally born to be a jazz musician. began taking his son with him to rehearsals and gigs. As When he was born December 29, 1952 in Cleveland, his the boy was listening, "I was starting to learn the music father, Tony "Big T" Lovano was already a highly­ they were playing." Lovano said, "All the guys in my regarded local jazz tenor saxophonist. dad's generation (in Cleveland) were my "There are pictures ofme as a baby," teachers." recalled Joe, "with an alto when I was One of those "guys" was Willie about six months old." Fellow Smith, the Cleveland saxophonist who Cleveland saxophonist Ernie Krivda had arranged for the said, "I think he wanted to be a jazz Orchestra. Smith recalled young Joey musician before he wanted, like most "used to come over all the time. He kids, to be a cowboy or a fIreman. It always wanted to play because he saw was always his dream." what his father was doing. Naturally, he With music fIlling his home, Lovano wanted to be a musician." began playing the alto sax when he was "I grew up knowing about the only fIve or six years old. His father Cleveland scene from my dad," said was always his musical idol. "My dad," Lovano. Writer Howard Mandel quoted said Lovano, ''was a real passionate Lovano saying, "I was really lucky. My musician. He also was a barber, had a dad was a great player, had fun with family, and he taught me about the music and just loved to play. I learned whole way of life in music." from him that jazz expression is vast. Lovano told me, "My dad grew up in He never told me, 'This is good and the era. He played at jam sessions A family photo of baby Joe that's bad.' He let me explore it all and with John Coltrane in Cleveland and with Lovano with his mother, he taught me about each instrument. (Clevelanders) Tadd Dameron, Benny Josephine, and a saxophone That taught me how to play. He taught ., Joe Lovano 203

me to check out At the Smiling Dog Saloon players and Before he graduated from Euclid High School, drummers and bass Lovano was playing at the Smiling Dog Saloon on West players and 25th Street, a club that presented many national jazz trumpeters. He'd artists. Krivda, who often played there with Lovano, say, 'If you're said, "It was an incredible experience, an opportunity to going to play with play opposite the major names in the music." them, you have to Lovano told me, "I remember hearing a lot of great know what's bands there. I had a chance to play opposite a number of happening. You're great groups at the Smiling Dog. Ernie Krivda and Bill going to play with de Arango and Skip Hadden played as the house trio and drummers; you I used to sit in with them. (Vibraphonist) Ron Busch have to know how played in a number of different bands there with Ernie to fit in your ideas and Ron Kozak, another saxophonist from Cleveland. with their rhythms. ' And I was a teenager and just coming on at that point in "This really the early '70s. I had a chance to play there a lot." opened me up," said It was at the Smiling Dog that Lovano said he got his Lovano. "From an first big break. He and Willie Smith were sitting in with early age, I used to Jack McDuff's group. "I was playing baritone listen to records saxophone in an ensemble with four and Tony "Big T" Lovano from the inside of Willie was playing lead alto. About two .weeks after we what was played a couple of nights with Jack at the Smiling Dog, happening, and not just on the basis of what the soloist he called us to join his band and go on tour." was playing. That was great," he said, "and I think it was really generous of him." Berklee, Woody and New York As a result of his father's enormous influence, After high school, Lovano wentto the Berklee College Lovano gained a very broad view of what jazz music of Music in Boston. He joined 's should and should not be. His father was never content orchestra in 1976 and made five with Herman. to keep on playing the same old songs with the same old In the late 1970s, Lovano got a chance to sit in with groups. Years later, Lovano, "the most straight-ahead the Trio, a group he had originally met at the jazz man on the scene today," as DownBeat called him, Smiling Dog. "That was an unbelievable experience," was constantly experimenting with new groups, new said Lovano. "I just brought my hom down there. Mark sounds, and new forms of musical expression. Johnson was playing bass. It was a Sunday night and 1 just approached Bill and asked him if! could sit in. And Early playing in Cleveland he was great. It was incredible! He said, 'Yeah, let me By the time Lovano was 13 (in 1966), his father often start the set and I'll bring you up.' let him sit in and play during the last set of gigs. When "I remember! played 'Body and Soul' and 'Stella By Joe was 14, Tony took him to jam sessions at places like Starlight' with them and an arrangement of a tune he Hank Geer's Euclid Shore Club on Lakeshore Boulevard. recorded on the Interplay which featured Jim This was where he first met such leading Cleveland jazz Hall, and , 'You and musicians as Bill Gidney, Paul Bunion, Hank Geer, Bill the Night And the Music.' 1 had heard them earlier in de Arango, Ace Carter, Tony Haynes, Emil Boyd, Chink the week. They were playing this one arrangement from Stevenson, Eddie Baccus and "Jacktown" (Lawrence the record and I knew the part. When they asked me Jackson) who later told me, "Dad really put it on his son. what I wanted to play, 1 called that tune and played his If it weren't for Tony, 'Big T,' there would be no Joey." arrangement on it. I was really proud that 1 could play When Joe was a student at Euclid High School, his something that they were playing." father took him to Public Hall in downtown Cleveland to hear pianist Dave Brubeck in a concert that also With and featured ." According to Lovano, it was After he moved to New York, Lovano joined the Thad that concert that convinced him that he wanted to follow Jones-Mel Lewis Orchestra that was playing one night a in his father's footsteps and become a jazz musician. week at the . "I joined the band in Despite his interest in jazz, Lovano later admitted 1980," said Lovano, "and played with the band every that while he was still in high school, he was playing all Monday night that I was in town and not on tour from kinds of music including rock 'n roll and Motown. 1980 until about '91. Mel died in 1988 and 1 stayed on 204 Cleveland Jazz History the band for about three accompanying myselfon years after he passed." solo sax with gongs." Lovano later said, The liner notes of that "The music of Thad album said prophetically, Jones and Mel Lewis "Joe Lovano is ready to was a development from step up and out." the Ellington-Basie As he was beginning school, a complete to "step out," Lovano evolution in modem never forgot his jazz band writing. And the roots in Cleveland. In thing about this music March of 1986, he came that was so strong," he home and had a party at said, "was that it was the Beachwood Studio performance all the way. in Cleveland to celebrate Most of the recordings the release of his first were live recordings and album. "To celebrate," every time, through the said Lovano, "we had a same arrangements, the jam session. We just musicians could be Courtesy of Joe Lovano called tunes and had creative within the some fun. " They music. It was always growing and taking new shapes. recorded that informal session. Included were Joe' s "When you play with older cats and legends, people father, his uncle Anthony Lovano, organist Eddie Baccus like Woody Herman or Mel Lewis," said Lovano, "they and drummer "Jacktown." The jam session was released elevate you into another strength especially ifyou know on a compact disc entitled Hometown Sessions. It where they're coming from and you know their history included father and son tenor duets - probably thyir last. and their life. All of a sudden, you're a part of that. Tony Lovano died less than a year later (January 8, Thanks to my dad, I grew up really knowing about the 1987) at the age of 61 . Unfortunately "Big T" did not history ofjazz and the history of players, and the traps live to see the world-wide acclaim his son was about to that a lot of cats go into. When I went to New York, I achieve. was already almost somehow seasoned a little bit to the In 1991 , Joe signed a contract with Blue Note way oflife in the world of music." Records and began recording a series of excellent Lovano was also playing dates and making records compact discs including , Universal with , , Jack McDuff, Lonnie Language, Live , Trio Smith and others. Lovano said, "Playing with musicians Fascination, and Rush Hour. like Paul Motian since 1980 was really a key factor in On Rush Hour, Lovano soloed within large ensemble my development about that concept, about developing arrangements written by . It was an solos that are special for the moment, not only the tune unusual setting for a musician who was best known for they're playing, but the people you are playing with." his work with small jazz groups, but he drew on his Living with his wife, singer Judi Silvano, in New experience with York, Lovano was playing frequently in the city and the Herman and teaching at New York University and William Paterson Jones-Lewis big College. bands. Lovano said later, "I First album as a leader would have never In 1985, Lovano recorded his first album as a leader, made a recording Tones, Shapes and Colors. The Joe Lovano like Rush Hour included pianist Ken Werner, bassist and and play with the drummer Mel Lewis. They recorded three Lovano intimacy that we compositions, "La Louisiane," "Tones, Shapes and did, with a large Colors" and "In the Jazz Community" as well as three ensemble like originals by Werner. Lovano demonstrated his long that with strings exploration of the concept of using a variety of and woodwinds, instruments. He said, "I had acquired a lot ofinstruments if I had not during my travels and tried to develop a concept of experienced Joe Lovano 205 playing in large groups." With Jim Hall and Dave Brubeck Lovano expressed himself, seemingly effortlessly, Also in 1995, Lovano was further honored when two within the context of the large orchestra, playing his all-time jazz giants, Jim Hall and Dave Brubeck, wrote mainstream, bebop and even free-jazz solos, as integral songs honoring him. parts of complex and sometimes difficult Schuller Guitarist and composer Hall, who also grew up in arrangements. Cleveland and had played with Tony Lovano, wrote a Lovano said, "Putting things together with different song dedicated to Lovano called "Calypso Joe." It was combinations ofpeople, shaping music, and makingjazz reminiscent of an earlier Hall recording with Sonny happen," was his way of life. He said he wanted to do Rollins, "St. Thomas" (from the Saxophone Colossus it in a variety of ways, drawing on the album). Lovano had been so impressed artistic stimulation he was getting from a with the Rollins-Hall recording that he had variety of musical environments." The recorded the song in 1986 when he came Rush Hour CD won the DownBeat Critics home to Cleveland for that recording session and Readers' Polls for 1994 Album of the with his father. Hall invited Lovano to join Year and a Grammy nomination. him on the recording. They made the record On Celebrating Sinatra, featuring songs for Telarc, the Cleveland-based recording made famous by singer Frank Sinatra half company, in February of 1995 at the Power a century earlier, Lovano discovered that Station in . within the big ensemble arrangements of Brubeck, whose concert in Cleveland Manny Albam, there emerged a variety of years earlier had inspired Lovano to become small combos - duets, trios, quartets and a professional musician, wrote a song quintets - in which he and the other jazz entitled "Joe Lovano Tango." The pianist artists could spontaneously interact with said he began repeating Lovano's name and each other, improvising original music. it fell into a tango rhythm. Brubeck said, "I Lovano told DownBeat, "I find that half finished Joe's tune in the car on the way of my audience, the young crowd, never into New York from my home in heard these standards played at all, by Connecticut." He went to the Clinton anybody. The other half of my audience Recording Studios in New York City on never heard any original music; they've June 6, 1995 to record for Telarc. Not only only heard standards done in fairly did Brubeck compose and record "Joe conventional ways." By using the Sinatra Lovano Tango" in honor ofthe Clevelander, standards as frames for new pieces of he also invited Lovano to record it with him. musical art, Lovano and his fellow players Brubeck told Lovano he wanted the piece performed the same arrangements, but they never played played ''Not as a typical tango, but as more ofa comment them exactly the same way twice. on the tango. He said to Lovano, "You should feel free to Like many outstanding jazz artists, including his take it any direction you want to go." father, Lovano was seeking more artistic challenges than Lovano said, "It was truly an honor to be part of the he could get playing with the same group all the time. 75th birthday recording session for Brubeck. In my Perhaps more than anyone else in jazz, he played and wildest dreams," said Lovano, "I never thought Dave recorded with a wide variety of stimulating jazz artists. Brubeck would compose a piece for me to play with him on such a milestone in his life and career." Remembering his Cleveland roots By the early 1990s, Lovano had become a world­ Touring the world class jazz artist. He was ranked number four Lovano was in demand everywhere. He recorded saxophonist in the 1991 DownBeat Readers' Poll. More with a huge number of different artists and toured the than any other jazz artist from Cleveland, Lovano nation and the world, playing an almost endless number always had great respect for his jazz roots in Cleveland of jazz festivals and such jazz clubs as the Village and returned home frequently to perform and take part Vanguard, the new Birdland, the Blue Note and Sweet in what he called "Cleveland's rich musical scene," a Basil' s in New York City; in scene which his late father had helped create. ; the Birnhuus in Amsterdam; the New Morning In 1995, when he was first voted "Jazz Artist ofthe in Paris; and Yoshi' s in Oakland. Year," Lovano spent more than a week in his hometown When Lovano came home for Christmas in 1998, he playing and serving as the artist-in-residence at the Tri-C spent a couple of nights playing with some of his old JazzFest. Cleveland musical friends at Ron Busch's Bop Stop on 206 Cleveland Jazz History

West 6th Street. He asked his father' s old friend, Willie Smith, to write some arrangements for a ten-piece group. Joe Lovano Discography Less than a year later (November, 1999), Lovano Lovano as leader: recorded several of Smith' s arrangements on a Blue 1985 ­ Tone, Shapes and Colors (Soul Note) Note compact disc, 52nd Street Themes. The CD 1986 ­ Hometown Sessions (Nimbus) included several of the pieces Smith had written for 1987 ­ (Soul Note) Lovano's hometown session at the Bop Stop. 1988 ­ (Soul Note) 1989 - LovanolRomano: (Owl) It also included five compositions by bebop pioneer 1991 - (Enja) Tadd Dameron, who had also played with Lovano's dad (Jazz Club) 1991 - Landmarks (Blue Note) in Cleveland - "If You Could See Me Now," "On a 1992 ­ From the Soul (Blue Note) Misty Night," "The Scene is Clean," "Whatever 1993 ­ Universal Language (Blue Note) Possess'd Me," and "Tadd' s Delight." Lovano said, "I 1994 ­ Tenor Legacy (Blue Note) 1994 ­ Rush Hour (Blue Note) laid heavily on Tadd' s tunes because that's where Willie 1995 ­ Worlds: Joe Lovano Wind Ensemble (Evidence) really lives. Learning tunes like 'Hot House' and 'Good 1995 ­ Quartets: Live at the Vanguard (Blue Note) Bait' really taught me a lot about how to play this 1996 ­ Celebrating Sinatra (Blue Note) 1997 ­ Jazz Saxophone (Blue Note) music." 1998 ­ Trio Fascination (Blue Note) In the liner notes, Lovano expressed his thanks, as 1998 ­ Flying Colors (Blue Note) always, to his late father, Tony "Big T" Lovano. 1999 ­ Friendly Fire (Blue Note) 1999 ­ 52nd Street Themes (Blue Note) The recording by one of the biggest names in jazz 2000 ­ Unknown Voyage (Robi Droli) was, in effect, Lovano's salute to his hometown and 2000 ­ Grand Slam (Telarc) particularly Willie Smith and Tadd Dameron. With so 2001 - (Blue Note) many Cleveland connections, Fifty-second Street Lovano with others: Themes could easily have been called "Euclid Avenue Woody Herman Orchestra - 40th Anniversary in Themes." It won a Grammy Award for Jazz Record of Camegie Hall; Roadfather; Chick, Donald, Walter the Year. and Woodrow; Woody and Flip Phillips Mel Lewis Orchestra - The Definitive Thad Jones, Vol. 1; The Definitive Thad Jones, Vol. 2; Soft Ughts Lovano's role in jazz and Hot Music; Make Me Smile; Live at In an interview during a break that night at the Bop Montreaux; 20 Years at the Village Vanguard Paul Motian - Psalm; One Time Out; On Broadway- 1, 2, Stop, I asked Lovano how he viewed his position injazz. 3; Motian in Tokyo; Jack of Clubs; Monk in He said, "I feel all these things that are happening right Motion; It Should've Happened a Long Time now, are happening right on time for me. It takes a Ago; Bill Evans; Story of Maryam; Trioism - , Time On My Hands, Meant while to develop your music and your sound. And it to Be, Live takes some experience playing in a lot of settings. I'm - Sail Away, Fonn, ViSions, Passages, Upswing starting to blossom and just trying to find myself in my - Transition, Sweet Soul Orchestra - sound and in different directions and concepts within - Night Town jazz." He added, "I feel it' s such an honor to be playing Judi Silvano - Dancing Voices, Songs I Wrote or Wish I Did this music and it's really a gift and a treat to be touring Gust Tsillis - Sequestered Days - Paris Botignoles, TransAtlantic Quartet, and to be able to present things like this. TransAtlantic & Abercrombie "I feel really proud that 1' m getting some recognition Salvatore Bonafede - Actor-Actress for some really creative projects and not a lot of over­ Lonnie Smith - Afro-Desia; Lonnie Smith and George Benson; When the Night is Right; Keep on Lovin' produced things or a lot ofhype. You know, people are Jim Hall - Dialogues, Grand Slam reacting to things that I've done. I would like to build Dave Brubeck - Young Tigers and Old Lions up a library or a catalog of not only my playing but my Bill de Arango - 298 Bridge Street, Anything Went - Excursion compositions as well." - The Common Thread, 5th House In 200 I, Lovano also joined the faculty of his alma Eric Felten - Gratitude mater, the in Boston. Andy LaVerne - First Tango in NY - Rhapsody And what does one of the world' s leading jazz Judy Miemack - Long as You're Living musicians do when he is not playing jazz or teaching? Peter O'Mara - Avenue U In a 1997 interview, Lovano said, "I love nature, Saheb Sarbig - It Couldn't Happen Without You - To Know Where One Is walking in the woods, swimming, and playing golf." He - Looking Up From Down Below said his uncles in Cleveland all played golfand he used Alain Soler - Durance to caddy for them when he was a teenager. - Uncovered Heart Yosuke Yamashita - Kurdish Dance, Dazzling Day, Ways of In a few short years, Lovano amassed an enormous Time catalog ofrecordings, both as a leader and as a sideman.