An Expanded Approach To Tradition

This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.

The New York Sun

“Tradition” is a buzzword among the current generation of jazz musicians, who chant the term over and over as if they were singing the opening number from “Fiddler on the Roof.” But if there’s one jazz giant who truly understands the importance of the concept, it’s Joe Lovano. The tenor saxophonist is appearing this week at the Village Vanguard with what he calls his Expanded Ensemble, and the band’s first set on Wednesday night was an exemplary illustration of the uses of tradition.


Mr. Lovano has already made two albums – “52nd Street Themes” (2000) and “On This Day at the Vanguard” (2003) – with his Nonet; the Expanded Ensemble adds two men for a total of 11.There are two trumpets (Barry Ries, Tim Hagans), one trombone (Larry Farrell), and three rhythm instruments (bassist Dennis Irwin, drummer Otis Brown, and the marvelous John Hicks on piano), but the focal point of the group is the big band-like saxophone section: Steve Slagel (alto), Ralph LaLama and George Garzone (tenor), Gary Smulyan (baritone), and, of course, Mr. Lovano.


The leader began by charging into his only original of the set, “At the Vanguard,” which is a variation on the Chick Webb-Benny Goodman classic “Stompin’ at the Savoy.” Despite the change of title and tune, “Vanguard” is still a hard-driving, swing-style flag waver. In fact, the leader’s arrangement brilliantly combines two distinct jazz eras: Although the solos are strictly modern, the way the players interact is very much rooted in the swing era. Mr. Lovano has been concentrating on his ballad playing of late, but here he charged into the music with unrestrained ferocity.


From the big-band era, the group time-traveled 10 years into the future for a quartet of classics from 1949, all of which represent the first offshoot of the bebop movement (informally referred to as “cool”).Three of these are associated with the Miles Davis Nonet (the “Birth of the Cool” band): Davis’s “Boplicity,” Denzil Best’s “Move,” and the romantic “Moon Dreams” (actually written for Glenn Miller by that orchestra’s pianist, Chummy MacGregor). All of these were beautifully rearranged for the Expanded Ensemble by the musicologist and composer Gunther Schuller, who was a member of the Davis Nonet. Mr. Schuller’s charts each began by re-creating the original, and then became more dissonant and more distinctly personal as they progressed.


The fourth 1949 piece was Tadd Dameron’s “Focus,” which, like the Davis material, was initially recorded thanks to the foresight of Capitol producer Pete Rugolo. The song’s lovely, proto-cool sonorities were enhanced by the chart of arranger Willie Face Smith. Mr. Lovano has a particular empathy for the music of both Dameron and Mr. Smith; all three men were from Cleveland, and Mr. Lovano cut his teeth on their work.


After a whole set of swingers and ballads, there was nothing left to play but the blues – and Mr. Smith’s “Deal” was close enough.Virtually everyone soloed on this, including Messrs. Slagel and Ries, as well as, in a time-honored custom for final numbers, the drummer. Mr. Lovano did not utter the word “tradition” all night, but in his playing and that of his Expanded Ensemble, he eloquently sang the praises of tradition.


Until December 11 (178 Seventh Avenue South, 212-255-4037).


The New York Sun

© 2025 The New York Sun Company, LLC. All rights reserved.

Use of this site constitutes acceptance of our Terms of Use and Privacy Policy. The material on this site is protected by copyright law and may not be reproduced, distributed, transmitted, cached or otherwise used.

The New York Sun

Sign in or  Create a free account

or
By continuing you agree to our Privacy Policy and Terms of Use