Joe Lovano Master Class - Intervals and Borgani Saxohpones
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- čas přidán 12. 04. 2008
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www.robertoswinds.com/store/pc... to buy Joe Lovano's Master Class. Here, Joe talks about the effect of intervalic relationships on his playing, and about playing Borgani Saxophones.
Active during a period of jazz history when it seemed radical innovation was a thing of the past, Joe Lovano nevertheless coalesced various stylistic elements from disparate eras into a personal and forward-seeking style. While not an innovator in a macro sense, Lovano has unquestionably charted his own path. His playing contains not an ounce of glibness, but possesses in abundance the sense of spontaneity that has always characterized the music's finest improvisers. Lovano doesn't adopt influences, he absorbs them, and when playing a standard, he exudes the same sense of abandon as when playing totally free (which, it should be pointed out, he does well, if infrequently). Lovano's most significant achievement is his incorporation of free and modal expressive devices into traditional chord-change improvisation.
Lovano is the son of the respected Cleveland saxophonist Tony "Big T" Lovano. Joe started playing alto sax as a child, taught by his father, who also introduced him to jazz. In his youth, Joe would hear many of the prominent jazz artists who passed through town, including Dizzy Gillespie, James Moody, Sonny Stitt, and Rahsaan Roland Kirk. Lovano began playing in jam sessions around Cleveland while still in his teens. Although thoroughly steeped in bebop, he also developed an interest in the jazz experimentalism of the '60s, listening to such musicians as John Jazz Video Guy Recommends
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amzn.to/3CDQ5JK, Jimmy Giuffre, and Ornette Coleman. Following high school, Lovano moved to Boston and attended the Berklee School of Music. Fellow students included such future collaborators as John Scofield, Bill Frisell, and Kenny Werner. While at Berklee, Lovano discovered modal harmony and opened up to the broad areas of tonal freedom that he found so attractive in the music of John Jazz Video Guy Recommends
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After leaving Berklee, Lovano worked with organists Lonnie Smith (with whom he made his recording debut) and Jack McDuff. He toured with Woody Herman from 1976 to 1979. After leaving Herman, Lovano settled in New York City where he quickly established himself. He joined drummer Mel Lewis' orchestra in 1980; he played the band's regular Monday night gigs at the Village Vanguard until 1992. He also recorded several times with the band. Lovano would also work with Elvin Jones, Carla Bley, Lee Konitz, Charlie Haden, and Bob Brookmeyer, among others. He joined drummer Paul Motian's band in 1981 (which also included his Berklee classmate Frisell), and played with guitarist John Scofield's quartet. Lovano began leading dates for Blue Note in the '90s, and continued doing so throughout that decade and into the next, recording in a variety of contexts ranging from trios to larger woodwind and brass ensembles. Lovano's wife, vocalist Judi Silvano, has appeared on a number of the saxophonist's Blue Note releases, including 1992's Universal Language and 1994's Rush Hour. Lovano has received a number of Grammy nominations for his work on Blue Note. His 1996 album, Quartets: Live at the Village Vanguard, was named Jazz Album of the Year by readers of Down Beat magazine.
Since then, Lovano has split his time in the studio between releasing impressive original recordings and albums, reinterpreting the work of artists who have influenced him -- including vocalist Frank Sinatra on 1996's Celebrating Sinatra (on which Judi Silvano also appeared), various bop-era stalwarts like pianist Tadd Dameron on 2000's 52nd Street Themes, and opera tenor Enrico Caruso on 2001's Viva Caruso. In 2004, the always unpredictable reedman released the ballads album I'm All for You, featuring pianist Hank Jones. Joyous Encounter followed in spring 2005, with Streams of Expression appearing on Blue Note a year later. Lovano once again paired up with Jones for the live duets album Kids: Duets Live at Dizzy's Club Coca-Cola in 2007. - Jak na to + styl
great upload- thanks!!!!
Great video!
What's so funny is that I've played with Joe and he told me himself that he prefers his Silver Selmer Balanced Action instead of this horn lol. I play on a Silver Mark VI he sad he would even play my horn instead of that Borgani so it's so funny to me.
Thank you
dark brilliance lol, I like Joe Lovano a lot as a musician.
@JazzVideoGuy it isn't a written law that you have to like Joe Lovano's playing..
@bt017 You ever tried supporting on a middle C Sharp on a tenor with only one thumb??? Good luck with that.
Very interesting lesson. As for the debate on the instruments preferred by Lovano, it's unbelievable how people cannot understand the difference between a great vintage instrument (the Selmers of the Fifties) and a great modern one (the Borganis). Obviously Lovano would not compare modern Selmers with modern Borganis, since the formers are not of the same quality/tone of the old classics, and great boutique instruments are way better, nowadays, than mass-produced instruments.
Does the silver (as it is specially mat) still oxidate, and if it does, does it look pretty instead of shitty on normal Silver?
"you gotta hold your horn man. If you do that, you'll end up holding your notes too... and you're notes get bigger. and you'll start to feel the notes you're playing." moral of the story: play without a neck strap man!
don't play with a loose strap if you cant relax your hand. sit or stand with your head looking straight forward. now adjust your strap and the angle of the neck piece so the mouthpiece comes naturally into your mouth at the right position. keep your shoulders and every thing else relaxed! that is the key!
I´ve been trying to play with the strap very loose and it´s so hard. You have to be very strong and its hard to relax your right hand. I play the a Reference 54 alto sax.
what does do something for you?
I believe so! At 2.09m he forgot the name of the brand....
wich model did you play??
hey what about King Zephyr?
sorry typo Mark "VI", How do I know these things? Because I have studied with the man myself and he has taught at my school. AKA hands on experience. He prefers old selmers... of course he wouldn't say that s#@$ on camera since he is endorsed. Who would? But the truth is the truth. Vintage horns offer the best personality. Modern players know Redman, Branford, Garrett, Brecker, Ravi, Potter, Turner, Shamus, AND Lovano... THE FUCKING LIST GOES ON AND ON. It's even more deceased players that knew
So why Joe lovano plays a Borgani?
masterclass with a true artist like lovano wont give you anything unless you reached that certain level. when technique's no longer something to discuss. it's more about the art.
@markh79sax No such law
Regardless of the legendary players in history and how messed up their instruments were. I want a fine tuned and the best instrument that my money can pay for. Music moves in split seconds I do not need anything between me and my execution. If you want to play on a student instrument held together by chewing gum and rubber bands be my guest. Any kind of music that has a melody can be reduced down to intervals. Intervals are the identity of the tune after all the tricks and deception.I like Joe.
cause he get's paid to. But his preference is his Selmer... he told me himself.
@simonmountney No, no, no man. You got it all wrong! It's all Coltrane. See? That's the real secret to playing giant steps and "In the Mood." You gotta take your neck strap off and play your high C#'s by under over blowing a low Bb. See? That's what Lovano is getting at. Only when you can make your neck strap form a perfect a "U" shape will you REALIZE man. REALIZE. You dig? You gotta play the sunset. The letter U. THAT is it. Plus, you gotta levitate. levitation man. It's the key.
I hear note, good notes. I hear phrases clear and strong. what I don't hear is any music from this guy. never did ...
he says some weird stuff here, I agree. but a lot of great players have ways of thinking about music and playing that don't really apply to anyone else, which is all good, you just have to find what works for you. Like that whole "no neckstrap" bit.
That's the reason why vintage IS better. "the ring and resonance". Those horns resonate more. No way you're going to make me believe that a modern horn sounds and resonates like a vintage horn. Jay Who? I look to people like kenny garrett, mark turner, michael brecker, joshua redman, branford marsalis, ravi coltrane, chris potter etc. who all play on vintage selmers... INCLUDING Joe Lovano... for their claims over this guy you're talking about... no offense.
This guy plays like a monster, but when he is talking is just a lot of stories that goes to nowhere. I had a teacher like him some years ago and I quit his classes because it was full of shit. They talk, talk and you learn nothing. Some people are better playing than having a conversation and that's de Joe Lovano's case. I prefer buy his albuns than his "masterclasses". You can learn more listen to his music.
Really? He definitely looks like a little guy
well, that was disappointing....
Master class? This is more like SPAM.
Lovano! a great player and a boring and awful speaker, buaaahhh!
not convincing at all, make me an impression from somebody I can´t trust.
Boring really.... He's obviously trying to sell the horns and I guess there's nothing wrong with that but his sound is the same in every song and frankly, his sound is technically brilliant but boring. Sends me to sleep in five minutes.
Snxxxx, Zzzzz... wake me up when this guy finishes. A technical wizard and a musical bore. Sorry.