NOVEMBER 3

                   JOE LOVANO
          52nd Street Themes
        
                Recording Date: 
                   November 3-4, 1999

                Personnel:
                   George Garzone   TS 
                   Tim Hagans         TP 
                   Conrad Herwig     TB 
                   Dennis Irwin         B 
                   Ralph Lalama       TS 
                   Joe Lovano          TS
                   Lewis Nash           D 
                   Steve Slagle         AS 
                   Gary Smulyan       BS 

                                                                                LINK

Review by Carlo Wolff
The latest CD by jazz saxophonist Joe Lovano blends New York attitude with Midwestern warmth in an homage to the Manhattan street where bebop ruled in the '50s and '60s. The music here, like that of such other thematic Lovano albums as Rush Hour (his 1995 celebration of third-stream music) and Celebrating Sinatra, evokes the past without being at all archival. Fronting a four-man sax section, Lovano blasts through such strong Dameronia as "The Scene Is Clean" and "Tadd's Delight," refreshes the indelible lyricism of Dameron's lovely "If You Could See Me Now," and, in an intimate duet with pianist John Hicks, velvetizes Billy Strayhorn's lush "Passion Flower." It also features Miles Davis' early "Sippin' at Bells"; Lovano's homage to Charlie Parker, the complex "Charlie Chan," a three-way saxophone conversation between Lovano and fellow tenormen George Garzone and Ralph Lalama that's punctuated by Lewis Nash's pinpoint drums; "Abstractions on 52nd Street," Lovano's extrapolation and embellishment of a Thelonious Monk line; and George Gershwin's "Embraceable You," plushly orchestrated by Willie "Face" Smith and lovingly performed by Lovano. Others contributing sax are Gary Smulyan (baritone) and Steve Slagle (alto); Tim Hagans and Conrad Herwig play trumpet and trombone, respectively, while Dennis Irwin handles bass. Like many other Lovano records, this hews close to tradition but updates it effectively. Besides the fervor of the playing — Smith says he would've played saxophone, but these New York players were much better prepared — the song selection is astute, Lovano's originals are solid, and Smith's sole compositional contribution, "Deal," is tasty indeed.