Fathers and grandfathers

How American saxophonist Joe Lovano was the lead singer of Igor Butman's big band

Butman's orchestra is almost ten years old. Many people associate the tenor saxophonist and his ensemble with jazz in general. In fact, the public often goes to “see Butman”, even if the mentioned musician is not on stage, but someone whom our main jazz player invited is performing. No matter who it is - an elderly overseas classic or an aspiring New York singer - if it is “jazz from Butman”, they go for it. And Joe Lovano is a rare character; he performed with us only once, at the first “Triumph of Jazz” in Russia. It was a large-scale concert with the participation of a bunch of jazz stars, a kind of parade. But I still wanted to listen to the legendary musician separately. Well, I've finally arrived. Almost ten years later.

Butman began the concert with these words: “Everyone who plays in the orchestra, I started with them once.” The musicians were very young then, but during the existence of the orchestra, “many became fathers. Some are grandfathers. By the way, the first grandson of our orchestra was named Igor. This is the kind of integration we have.” He paused and added: “I would try to call it something else...” The audience burst into applause. Butman's "carts" are a separate element of any concert.

So here it is. On this anniversary, this wonderful orchestra decided to play with Butman’s idol, Joe Lovano. Someone, it seems, from Western jazz critics, came up with the following phrase several years ago: “The best tenor on earth is not called Luciano, but Lovano.” Sharply: Luciano Pavarotti was alive at that time, but he was already very ill and sang poorly. And the phrase was picked up. Joe Lovano is in excellent shape - every two years he records a solo album with original material and participates in side projects. Lovano's style is real, romantic and slightly archaic bebop. The music is simple, just music - melodious themes and cheerful improvisations in a dizzying sugary sound. I personally don't like Lovano's solo albums. I prefer his collaborations, like ScoLoHoFo (with John Scofield, Al Foster and Dave Holland) or his recent duet with pianist Hank Jones. On the excellent and very modern album Streams of Expression, Lovano replayed and, um, completed Birth of Cool (1949) by Miles Davis. And his project Saxophone Summit is generally beyond criticism. Moreover, the first album of the project, with the late Michael Brecker, and the second, with Ravi Coltrane. That is, Lovano is apparently one of those creators who feel better if there is an external stimulus. Equal co-author, for example. “I like it or not,” this is all, of course, wonderful, but, to be honest, Lovano is the last of the Mohicans. Who else is more or less active and relevant among the tenorists of his generation, not to mention those who are older? The brilliant Wayne Shorter. Quite an elderly classic Benny Golson. Miles Davis's colleague Dave Liebman. Gary Bartz. Well, a few more names. To the whole planet. So Butman, calling Lovano “the world’s first tenor saxophonist,” is not lying. It’s just that there are almost no others anymore.

In fact, the concert showed all of the above once again. And one more thing: Lovano is one of those rare jazzmen who knows how to please any audience (the large Svetlanov Hall, by the way, is almost packed). Its sound is correct, round, seductively sweet. With some nice little rough edges and the occasional squeal where needed. He might sound like Stan Getz, too. (Maybe in any way, but in any way - no one needs it, it needs to be beautiful and peaceful). On stage, a large bearded man Lovano is very active, beaming with a smile, conducts the orchestra and listens with pleasure to the solo pieces of the orchestra musicians: trumpeter Vadim Eilenkrieg, pianist Anton Baronin, as well as trombonists, second saxophonists... almost everyone, including Butman. Shortly before the concert, Lovano brought the notes of his works to Moscow, which the orchestra learned in one day and rehearsed in one rehearsal. They played Lovano's new songs and the Again and Again standard. And also the Russian folk “Coachman, don’t drive the horses” in such an arrangement as if it were some kind of bossa nova by Antonio Carlos Jobim. Soulfulness squared. Like, in general, the whole concert.

Alexander BELYAEV