--------------------------------------------------------------------------------

Bread,Wine,andSoul:JazzmanJoeLovano
--------------------------------------------------------------------------------

ByGeorgedeStefano TherewasrejoicinginCleveland,OhiowhentheGrammynominationsforBestJazz Recordingof1994wereannouncedinJanuaryofthisyear,foramongthenomineeswas JoeLovano,thefortytwoyearoldhometownboywhoiswidelyconsideredtheleading saxophonistofhisera. Lovano,athirdgenerationSicilianAmerican,isasuperbartistwhopossessestechnical virtuosity,arestlesscreativespirit,anduncommonsoulfulness.Hismasteryasa saxophonist,composer,andbandleaderhaveearnedhimuniversalcriticalacclaim.A dreamplayerfortheNinetieswhomixesromanceandrisk,notedRollingStone. Ceaselesscreativity,observedtheNewYorkTimes.AndtheVillageVoicesGary Giddins,oneofthenationsleadingjazzcritics,wrote,oneofthemostadmiredtenor saxophoniststostepoutoftheshadowsandintothelimelightofleadershipinthepast decade,Lovanohaseverything... Unlikemostoftheyoungermusicianswhohavefollowedinthewakeoftrumpeter WyntonMarsalis,JoeLovanoencompassesvirtuallytheentirehistoryofjazzinhis playing.Hebeganhiscareerinthe70swiththebigbandsofWoodyHermanandMel Lewis,buthealsohasabsorbedtheradicalinnovationsofsaxophonistJohnColtrane, bassist/composerCharlesMingus,andahostofother60seraexperimentalists.Hisup tempopiecesbristlewithrhythmicexcitementbuthesalsoamasterballadeer,agifthe attributestohisItalianheritage. WhenthefollowinginterviewwasconductedinlateJanuary,Lovanowasonaroll.Hed justgottenwordoftheGrammynominationforhisalbumTenorLegacy.Hewasnearing theendofasuccessfulweeklongengagementatNewYorkslegendaryVilllage Vanguard.And,hehadjustreleasedhislatest,andmostambitiousrecording,Rush Hour,abrilliantcollaborationwithcomposer/arrangerGuntherSchullerthatfeatures Lovanoinavarietyofsettings,fromfullorchestrawithstringstoacapellasolopieces.

IinterviewedLovanoattheManhattanloftheshareswithhiswife,JudiSilvano(the surnamecombinesSilverman,herfamilyname,andherhusbands),asingerwhose sopranovoiceisanintegralelementofUniversalLanguage,oneofseveralbandsLovano leads.Abig,burlymanwithagoateeandabroadfacciasiciliana,Lovanolooks formidable,buthismannerisgentle,thoughtful,andsoftspoken. Duringourtwohourconversationitbecameevidentthatthetwomajorinfluenceson hislifeandarthavebeenthecontributionsofthegreatjazzinnovators,mostofwhom areAfricanAmerican,andhiscloseknitSicilianAmericanfamily.Bothcurrents convergedinthepersonofhisfather,TonyBigTLovano,whowasalsoajazz saxophonistandalocallegendinClevelanduntilhisdeathin1987.LovanoSr.,who workedregularlywithblackmusicians,notonlytaughthiscelebratedsontoplayjazz; healsogavehiminvaluablelifelessonsinopennesstodifferentpeoplesandcultures. Q:Yourenow42,andyourereallyhittingyourstride,bothintermsofcritical recognitionandyourartisticexpression.Whynow? A:Imatmymostexpressivebecauseofmyexperiencesinthelasttwenty,twentyfive years.IcomefromamusicalfamilyinCleveland,Ohio.Igrewupwithjazz,andwith classicalmusic,thoughmostlyopera.Mygrandmotherusedtosingoperaaroundthe house,andherbrotherandmyfathersuncleJimplayedmandolin.Ijustalwayshad musicaroundmywholelife.Andmydadplayedsaxophone.Hewasareallygreatplayer namedTonyLovano.Andhewouldpracticeandplayaroundthehousewhenhewasnt workingasabarber.SofromwhenIwasakidIwasinvolvedwithmusicandthe saxophone.OnceIreallystartedworkingandmakingmusicmyprofession,Iwasa teenager.Iwasalreadydeepintoit.SoatthispointinmyearlyfortiesIfeelIhavealot ofmusicalexperiencetodrawon.EvenbeforeIcametoNewYorkandstartedplaying withsomereallycelebratedbands,WoodyHerman,andtheMelLewisJazzOrchestra.I hadalotofexperiencejustplayingsongs.AndthatcomesfrommyItalianroots,andthe melodic,lyricalmusicfromItalythatIalwaysheardaroundmyhouse.Ithinkalotof thingsarecomingtogetherformenow,andImreachingbackintomyearlierdaysto drawmaterialandtoputconceptstogether. Q:HowdidtheLovanoandVerzifamiliescometoCleveland? A:MyrelativesarefromtheareasaroundMessinaandTaormina,inSicily,anditseems therewerealotofpeoplefromthatregioninCleveland.Ineverknewmygrandfathers theybothdiedbeforeIwasborn.ButIknewmygrandmothersreallywell.My grandfatherLovanoIthinkgotagigontherailroad.HecamefromNewYorkfirst,and thentoClevelandwherehehadagrocerystore.MyMomsfamily,Imnotexactlysure whytheycametoCleveland.OnmyMomssideIhavealotofuncles,andIgrewup aroundherfamilymore.

 MyDadsfamilywasrealmusical.MyuncleNick,hisoldestbrother,playedthe saxophone.Hesstillplayingtoday.MyUncleJoeplayssaxophone.MyUncleCarlplays trumpet.MyUncleCarlandmyDadweremorethejazzplayers.Theywereinvolved muchmorewiththemulticulturalcommunityinCleveland.Clevelandisaveryethnic town,alotofEasternEuropeans,Italians,andabigblackcommunity. MyDadwasreallyinvolvedwiththeAfricanAmericanmusiciansinCleveland.Hehada realopenandbeautifulattitudeaboutcombinationsofpeoples.Healwayshadmixed groups,withblacksanddifferentpeoples.Iwasthefirstborn,soIwasrightonhis coattailsallthetimeandreallylearnedfromhim. WhenIwasakidIwasalwaysgoingtojamsessionswithmyDadandmeetingmusicians fromeverywhere.Heplayedmainlyjazzgigs,buthealsoplayedalotofweddingsand heplayedwithaccordionplayersandeverything.Anditwasgreatbecauseitgavemea focusaboutlife,andanopennesstodifferentpeoplesandcultures.Ispentalotoftime whenIwasateenagerplayingdifferentkindsofgigs,andalsoplayingwithmusiciansof myfathersgeneration.SoIlearnedhowtoplayfromstudyingwithhimandallhis friends,everybodyheplayedwith,whowerethebestmusiciansaroundthearea.When IleftClevelandandcametoNewYorkIwasreallycomfortableplayingwitholder musicians.ThosewerethecatsIwantedtoplaywith!Theyweremyfavoriteplayers. AndthroughtheyearsIvehadthechancetoplaywithalotofthem,andtour,too. Q:TheNewYorkTimesrecentprofileonyou[January1995],whilefullofpraisefor yourmusicianship,keptharpingonthesupposedanomalyofyoubeingawhiteman whosachievedeminenceinasocalledblackmansfield.Moreover,thearticletalked aboutyouasifyouweresomegenericCaucasian,butifthewriterhadanysenseof jazzhistoryhedhaveknownthatItalians,andparticularlySicilians,havebeen involvedwithjazzfromitsinception,inNewOrleans. A:Yeah,thatstrue.ThatwasthefirstmajorarticleaboutmetoappearintheTimes, andIwasreallyflatteredbyit.Ithinkalotofitwasreallygood,buttherewerepoints likethatthatwereunnecessary.Itshowedthatthewriterwasalmostshockedthat someonelikemewouldcomeonthescene.Look,jazzisacombinationofrhythmsfrom Africa,andharmoniesandmelodiesandscalesfromEurope.Butthatsgoingbacktothe darkages.Weretalkingaboutjazztoday,whichisaboutthesynthesisofdifferent cultureswithyourownpersonalexpression. Q:TherehavealwaysbeenimportantItalianandItalianAmericanjazzmusicians, goingbacktoNickLaRocca,EddieLang[SalvatoreMassaro],andLouisPrimainNew Orleans,throughLouieBellson[Balassoni],LennieTristano,JoeVenuti... A:IhadachancetoplaywithJoeVenutioncewhenIplayedwiththeWoodyHerman band.Hesatinwithus.Hewasatrip!Ohyeah,therevebeengreatItalianplayersin

jazz,someofthemostbeautiful,lyricalplayers,too.VidoMusso,CharlieVentura,a beautifulsaxophoneplayer,FlipPhillips... Q:IdidntknowPhillipswasItalian... A:Yeah,Iforgetwhathisfamilynameis,buthewasoneofthemostfamoussaxophone playersduringtheperiodwhenColemanHawkins,BenWebster,andLesterYoungwere onthescene.Hewasrighttherewiththem.HeplayedatJazzatthePhilharmonic[a legendary1940sconcert]andwasthestaroftheWoodyHermanbandinthelate30s, early40s.Hesstillalive,helivesinFloridanow.Hewasoneofthepioneersinswing, andprebebop.IplayedwiththeWoodyHermanbandin1976.Iwas23atthetime.We didaconcertatCarnegieHallthatwasrecordedonRCAforWoodys40thanniversary. HehadallthebigstarsthathadplayedwithhimStanGetz,ZootSims,AlCohn,Flip Phillips,JimmyGiuffre,justtonamesomesaxophoneplayers.TheCondolibrothers, PeteandConteCandoli,greattrumpetplayersfromCalifornia.AndIhadachanceto playwithallthoseguys,me,justakid.Itreallygavemealotofconfidenceaboutfinding myvoice. TherearesomeothergreatItaliansaxophoneplayersSalNistico,whojustpassed awayrecently.HeplayedwiththeWoodyHermanbandinthe60s.InawayIfollowed inhischair,playinginthebandtenyearslater.RightnowinNewYorktherearesome cats,tooRalphAlama,fromAliquippa,Pennsylvaniahesagreatsaxophoneplayer. Q:In1993,youparticipatedinaconcertatNewYorksTownHallcalledtheMilan NewYorkFestival,thatfeaturedItalianAmericanandItalianjazzmusicians. A:ItwasmainlymusiciansfromItalywhocame.Ihadachancetoplaywithagreat pianist,SalvatoreBonafedefromPalermo.HeandIplayedsomeduetsatthatconcert. Q:Downbeatmagazinesreviewofthatconcertwaslargelynegative.Itsaidthe musiciansfromItalytendedtobeoldermenwhoplayeddatedstylesofjazz.The revieweralsoclaimedthatSalvatoreBonafedesplayingdidntswing. A:IthinkSalisabeautifulplayer.Weplayedduetsjustpianoandsaxophone.We didnttrytoswingweplayedballads.Ithoughtitwasoneofthemostexpressiveparts oftheevening.Mostoftheothergroupsdidplayamoremainstreamkindofswing style.MostofthemusicianscamefromtheTorinoarea,somebeautifulplayers,but theyweretryingtoplaylikeAmericanmusicians.Ithoughttheycouldveplayed somethingmoreoriginal.Thatparticulargenerationofmusicians,fromaroundthe world,alltriedtocopythegreatjazzplayersfromtheStates.ButtheyoungerItalian musiciansaretryingtofindtheirownvoices,playtheirownmusic.

Q:YourconnectiontoandreverenceforyourSicilianheritageisevidentinyour originalcompositions,suchasMissEtnaandBreadandWinefromyourTenor Legacyalbum.Whataboutyourbackgroundwereyoutryingtoevokeinthosesongs? A:WithBreadandWineitwasthefestiveattitudeatanItaliandinner.Breadandwine togetherreallyrelaxpeopleandputtheminagoodframeofmind.Inthearrangement, thedrumsarethebody,thetenorsaxophonesthespirit,orthetenorsthebodyand thedrumsarethespirits...theykindofchangeroles.Itwasjustafeelingforme,one ofrejoicingandplayingwithsoliditybutalsoinafreethinkingway.Weonlyusedtwo saxophonesandtwodrummers,soitwasdifferentkindofpiece.Wedidntusethe pianoorthebasstogiveafoundation,wejustplayedthemelodyandrhythm,andto methatstheheartandsoulofthemusic.Lyricalmelodiesandthegroove,thebeat. AsforMissEtna,well,allfourofmygrandparentscamefromtwovillagesonthe mountain.Ihaventvisitedthoseplacesyet,butIplanto.SoIwrotethistunethinking ofthoseroots.Andalsoofthevolcano,itspower,andthevariedculturalwindsthat blowthroughSicily.Thetunehasafeelingofswing,butitsalsoexplosive. Q:ThemusicalexchangeandcollaborationthatoccurredbetweenblacksandItalians inNewOrleansdidntoccuronlythere.Forexample,italsohappenedinLatin America. A:Yes.IfyougotoArgentinaandhearthetangomusicthatdevelopedthere... ArgentinahasahugeItalianpopulationbecauseatthesametimeItaliansimmigratedto theUnitedStatestheywerealsoleavingforBuenosAires.ThetangoisItalianmelodies andharmonies,andAfricanrhythms.Sotheresdefinitelyalwaysbeenacollaboration ofdifferentelements.ImgoingtoexperiencethiswhenIgotoBuenosAiresinApril [1995]todoaseriesofconcertswithArgentineanmusicians:bandoneon[atypeof accordion]players,acousticguitar,bass,drums,trumpet,andsaxophone. Q:ThelateArgentineancomposerAstorPiazzolla,whowasofItalianbackground, gainedinternationalacclaimforhisinnovationswiththetango. A:Thatsright.Ifyoulistentoevensomeofhisearlyrecordingsyoullhearreally modernmusicthatstechnicallyadvancedyetwithdeepfeelingandexpression.Alot likejazz.IvelearnedalotabouttheItalianworldinArgentina,andIhaventevenbeen thereyet.ButIdohavecousinsthere.MygrandmotherLovanohadsomecousinswho wentfromSicilytoBuenosAires,andtheyvisitedClevelandonetimeinthelate70s, andImetthesecats.Imetfourofmyfathersfirstcousins,andtheylookedlikeallmy uncles.SoImhopingtoseethemwhenIgothere.TheirnameisDiTorre.

Q:Sinceyouare,astheNewYorkTimesinformedus,awhitemaninablackmans field,haveyoueverexperiencedanyresentmentorhostilityfromAfricanAmerican jazzmusicians? A:No,notatall.Especiallynotfromonesofmygeneration.Ithinkresentmentmight happenifyouregettingalotofattentionandyourenotreallyplaying.Ivehadreally beautifulexperiencesplayingwithblackcatsmywholelife.Iveplayedandtouredwith somebandswhereIwastheonlywhitemusician.WhenIwasdoingmyfirstgigswith JackMcDuffandLonnieSmith[twoorganistspopularfortheirrhythmandblues influencedstyles]inthemid70s,IwasinmyearlytwentiesandIwasontheroadonthe chitlincircuit[anetworkofAfricanAmericanvenues],playinginalotofsmallclubsand touringlotsofcities:Indianapolis;Cincinnati;Dayton;Detroit;Pittsburgh;Chicago;Gary, Indiana;Champagne,Illinois.IwasalwaysacceptedandIthinkitwasbecauseofthe wayIplayed.Iwasinvolvedwiththemusic,andIwasntacopycat.Ithinkinjazzits reallyeasytocopyotherplayers.Andalotofthenegativityyoumighthearaboutsome whiteplayers...evenStanGetz,whoearlyinhiscareerwasnttakenseriouslybecause hesoundedlikeLesterYoung.Hewascopyingsomeoneelseandhebecamemore famousthanthecathewasplayinglike.ThatssomethingIalwaystriedtoavoid.Infact, ifIcopiedanybody,itwasmyDadsplaying! Q:Youracceptancenotwithstanding,blacknationalistfeeling,forlackofabetter term,hasbeenastrongcurrentinjazz.Thiswasespeciallysointhe60s. A:Youcanlistentothoserecords[fromthe60s],andtheyreverypoliticalrecordings. [Charles]Mingus,andMaxRoach,andmostofthegreatcomposersandplayersblack Americansdefinitelyhavebeensomeofthemostinnovative,andmostdedicatedto findingtheirownvoice.Thoseplayersinspiredmetobemyself,tofindmyownway. MostofmymaininspirationsareAfricanAmericanmusicians.NotthatIcopiedwhat theyplayedorhowtheyplayed,buttheattitudeofbeingyourownman...thathornis inyourhands,nowtellastory.Butalotofthemusicwasveryradicalinthe60s,andit wasreallyaboutthestrugglesofblackpeople. ButevenCharlesMingus,asfaroutandpoliticalashegot,heplayedthebass,hedidnt juststandupthereandscream,heplayedthebass,andwrotesomebeautifulsongs thatareverycomplexharmonically.MingussmusicwasreallyanoutgrowthofEllington and[Thelonius]Monk,withharmoniesandstructuresthatwerereallyverydifferent, andinfluencedbythemoreopenendedformsofclassicalmusic.Sothereweresome playerslike[thelatesaxophonist]AlbertAylerwhojustplayedsounds,andscreams, andrawemotion.Andithaditsplace,too.Thatmusicinfluencedme,too.ButIthink thedeepermusicwasalwaysrichinharmonyandrhythm. Q:YourfatherscolleaguesandfriendswereAfricanAmericanmusicians,andsoare yours.WhenyoucametoNewYork,wereyousurprisedbyhowmuchethnicand racialconflictexistshere?DidyouexperienceanythinglikethatinCleveland?

 A:The60s,whenIwasinjuniorhighschool,wasareallyturbulentperiod.InCleveland, andinalltheMidwestcities,therewereriots.IknewaboutitbecausemyDadwas playingwithblackmusicians,andplayingallovertowninclubsthatwereburneddown [duringtherioting].Gone.Anditturnedmyfatherslifearound,Iknowthat.He suddenlywasntworkinglikehehadbeen.Inoticedthebigchange.Allofasuddenhe hadtoworkmoreinsupperclubs,inthesuburbs.Healwayshadraciallymixedgroups, andheplayedalotofclubswhere[white]peoplewouldfreakoutwhenheshowedup withhisband.Thenhewouldexplode.Hedsaylook,Youhireme,Iplaywiththebest musiciansintown,andyoudonttellmewhotoplaywith.Therewerealotofnights whenhedgotothegigandcomehometwohourslaterbecausehedhadascene.Oh, yeah.Hewasplayinginsupperclubswheretheydidntwantblackclientele.Thiswasin suburbanCleveland.Itallkindofcooledoutafterawhile,butitwasarealroughtime there.AndseeingthatgodownhereinNewYork,inBensonhurst,itdidntfeeltoo good.Alotofyoungpeoplewhodonthaveexperiencewithdifferenttypesofpeople, whoarerealhotheads. Q:AreClevelandsItaliansconcentratedinafewareasormoredispersedthroughout thecity? A:Nowmoredispersed.TheinnercityofClevelandisnowallblack.WhenIwasgrowing uptherewerebigPolish,Yugoslavian,Croatian,Slovenian,Italianpopulations.Now theyreallspreadout,tothesuburbs.Itreallychangedalotbecauseoftheriotsinthe 60s. Q:Doyougobackthere? A:Yeah,IgettoClevelandallthetime.Iplayalotofconcertsthere. Q:Otherthanyourfathersbeingsuchabiginfluence,didyourfamilysupportchoice ofacareerinmusic? A:Well,myMom,JosephineVerziLovano,andmyAuntRoseVerzi,weremyfirstmajor critics.TheycametoallmyconcertsandtheycometoNewYorktohearmeallthetime. MyAuntRosewasasingerandlovedjazz.ShewenttoJazzatthePhilharmonicandsaw EllaFitzgerald.SheheardFlipPhillipsandStanGetzplaybackintheearly50s.Shesa realhiplady.ShecametoNewYorkwhenIplayedinWoodyHermansfortieth anniversaryconcertatCarnegieHall.ShebroughtmysistertoNewYorkandcameto theconcert,hadfrontrowtickets. AndalotofthetunesIplaytodayarestandardsIheardhersing,tunesthatsheandmy Momknew.Idbepracticinginthebasement,preparingmylessonsformyDad,but theyheardmepracticingandplayingmuchmorethanhediduntilIactuallystarted playingwithhim.WhenIwasakidmyMomandAuntRoseheardmeplayeverything,

andshe[Rose]wouldsay,Oh,Idontknow,Idontthinkthatsright,andshedsingit thewayitwassupposedtogo.SotheywerebothreallyinvolvedinmymusicwhenI wasakid.Theywere,andstillare,mybiggestcriticsandmybiggestfans. Q:ItalianAmericanwomenofyourmothersandyourauntsgenerationareoften stereotypedasjusthomeboundpersonswhodefertotheirhusbands,butinmy Experience,andmaybeyourstoo,Iveoftenfoundthemtobeverystrong. A:Oh,yes,itstrue.MyMomkeepseverybodytogether.Sheandmyauntaretwo differentsidesofthecoin,though.MyMomwasarealhomeperson,shetookcareof myDad,shedideverything.AndmyAuntRosenevermarriedandisarealhipster.But myMomandAuntRosearereallyoftheirgeneration,theyrebothvery,uh,howshould Isay,superstitious,andincertainwaysveryOldWorld. Q:Themalocchio... A:Ohyeah,thewholething.AndIrememberwhenmygrandmotherdied,myMomand AuntRosetheyworeblackformaybetwoyears.Really!Ilearnedalotaboutmyfamily fromtheirsuperstitions. Q:DoyouthinkAuntRosewasonlyabletoenjoythatkindofunconventionallife becauseshenevermarried? A:Ithinkso.Irememberheralwayshavinganewcar.Shetookacruisebyherselfon theMichelangeloandwenttoNaples.Andsheworked,too,allherlife.Shejustrecently retired,asamatteroffact.Shejustneverhadthedesiretomarryandhaveafamily. AndsheandmyUncleSanto,herbrother,theyhadabighousetogether.Hewasnever married,either.Sotheystayedtogetherandreallyhadanamazinglifetogether.Hejust passedawayrecently,whichwasrealhardoneverybody.Hewasarocksolidperson, justanamazingguy.Notinvolvedwithmusic,buthewasoneofmybigteachersinlife. EverythingIlearnedwhenIwasntplayingmyhorncamefrommyUncleSandy.Hehad abighousewithalotofland,andIwasalwaysthereworkingwithhim.Ihelpedhim buildafireplace.Hekneweverythingaboutcars,aboutlandscaping.Hehadfruittrees. Hewasalwaysthereforus.ThecloseknitfamilywasreallyUncleSandy,myMom,my AuntRose,andmyDad.Thefourofthemwerealwaystogether.Onanygivennight theydallbehavingdinnertogether.Now,withoutmyDadandmyUnclearound,its reallydifferent. Q:IheardthatyouhaveplayedwithTonyBennett. A:Iplayedwithhimanumberoftimes,whenIwaswiththeWoodyHermanBand,and alsowhenIwaswiththeMelLewisJazzOrchestra.Ineverplayedinasmallgroup settingwithhim.Itwasalwaysinbigbands,andIwasinthesaxophonesection.Hesa reallysweet,beautifulperson,andsomeonewhowasalwaysaninspirationtome,just

becauseofthetuneshesang.Itriedtolearnthetuneshesang,andthetunesSinatra sang.AndIstilldo. IjustgotabunchofSinatrasoldrecordingsonCapitol,andoneveryonethereare amazingorchestrationsandbeautifultunes.SomeofthethingsonRushHour,in particularAngelEyesandPreludetoaKiss,theorchestration,andthewayweplay reallyremindmeofsomeofthosethingsthatSinatradid,andTonyBennett.Ofcourse Imimprovisingandplayingmoreopenendedsolos,butthewholefeelingofthe orchestrationhastheclarityofthoseclassicrecordings. IalsoplayedwithSarahVaughn.Shewasanothergreatinspirationtome.Myaunthad allherrecords,andthetunesthatshesangwerethetunesmyDadplayedandthatI triedtolearnasakid.AndIverecordedsomeofthem.OnUniversalLanguage[1993] theresatunecalledThisisAlways,whichIheardSarahVaughnsrecordingofwhenI wasakid. Q:Youreknownforplayingfast,rhythmicpieces,butyourealsorecognizedforyour wonderfulballadplaying.Lastnight,attheVillageVanguard,whenyouplayedThisis AllIAsk,ahushcameovertheclub.Itfeltasiftimestoodstill,andtherewasjustthe horn,yourvoice,tellingastory. A:ThatsatunemyDadalwaysplayed.Theballadplayingreallycomescompletelyfrom myItalianroots,man.Itcomesfromopera,fromlisteningtoCaruso.Balladsformeare reallytheheartandsoulofmymusic.Rhythmictunesarefunandtheyreexciting,you getintoagroove.Buttheballads...tomeanwhatyouplayinaballadisthewhole thing.Imjuststartingtofindthatnow,andImrealizingitscomingfrommyloveof opera,fromthingslikehearingPavarottisingOSoleMio,whereyourealmostnot awareoftheorchestration,therhythmoranythingelsebuthisexpressiveness.Thats whatImtryingtogettoinmymusic. Q:Whatothergoalsdoyouhaveforyourcareer? A:Idontwanttorepeatmyself.Iwanteveryoneofmyrecordstohaveitsown personality.SothatifyouwanttocheckoutJoeLovanoscatalogueyoucouldbuyfive ofmyrecordsandeachoneofthemwillhaveapersonalstatement.Ithinkthatsthe trapalotofyoungmusiciansfallintoonceyoumakethesamerecordtwice,where areyougonnagofromthere?ThatswhyImgladmyrecordingcareerisatthispoint, rightnow,whereIhavealottodrawfrom.Imgoingtocompletelyavoidrepeating myselfandnotmakeanotherrecordlikethelastone.

Q:Youhavesaidthatyourplayingusedtobemoreofatechnicalaffair,butnowits morelikeameditation. A:Inyouryounglifeasaplayereverythingisabouttechnique:CanIplaythisfaster, louder,inallkeys.Itslikeyourealwayschallengingyourselfandyourtechnique. Becauseformethegoalwastohaveproficiency,tobeavirtuosoonmyhorn.Thatwas anobsession.Ifyouhavethatgoalyoureallygetyourselftogetherfasterasamusician. ThatwasalwaysthereformewhenIwasakid.ButatacertainpointwhenIstartedto feelIhadcontrolofmyhorn,andIwasabletoplaywhatIheard,Ijuststartednaturally toslowdown,toplayless. WhenIusedtopractice,Idflyaroundmyhornforanhour.NowIcanplayforanhour andplayfourdifferentnotes.Kindofmeditateinsidethesound.Whenthathappened tomeIthinkmysoundstartedtobecomemorepersonal,andIstartedtoplaywith moreintimacy. Q:WhydosomanyyoungplayersofthepostWynton[Marsalis]generationhave suchalimitedvisionofthejazztradition,basicallybebopandpostbop,andseemto besoallergictothemoreexperimentaljazzofthe60s? A:Ithinkitsbecauseyourehearingalotoftheseyoungplayersprematurely.Theyre promotingalotofyoungcatsayearortwoorthreeorfourtooearly.Theyrenotletting guyslivearoundNewYorkandhangouthereandgetsomegigs,playtheclubs,learn howitistotrytomakealivingfromyourplaying.Ispentmylifedoinggigs,doingthis doingthat.Ialwaystriedtoplayjazz.Iplayedclarinet,Iplayedflute,alotofgigswhereI playedbehindsingers.Youhavetomakealiving. Alotoftheseyoungcatstodayneverdidanyofthat.Theygorightfromschool, somehowgetarecorddeal,andtheyrediscoveredbycriticsandtherecordpeople. Andasamusicianyourenotgoingtoturnanythingdown.Someonecomesuptoyou andsaysweregonnarecord,andyoucanhaveanybodyyouwantintherhythm section,youcanhaveHerbieHancockplaypiano,youregonnajumpattheopportunity. Butyoucanonlyplayasgoodasyouplay,andyoucanonlyplayyourexperience. GeorgedeStefano ThisintervieworiginallyappearedinVIA(VoicesinItalianAmericana),1995