Joe Lovano: Paramount Quartet review | John Fordham's jazz album of the month

(ECM)
Lovano and his spirited quartet make his instrument glow in all its pliable eloquence, with rattling originals amid the Charlie Haden and Wayne Shorter covers

The saxophone’s 19th-century inventor, the Belgian Adolphe Sax, imagined hybrid horns that could combine the speed and fluency of woodwinds with the volume and punch of brass. Sax’s career was almost derailed by a childhood of hair-raisingly frequent accident-proneness that led his mother to fear for his survival, but at 20 he patented a prototype contrabass clarinet, and then the first saxophone as its offspring. Sneered at by traditionalists for decades, the sax was sidelined to parade bands and purring strings mimicry in dance orchestras – until jazz musicians from Sidney Bechet in the 1920s to Charlie Parker, John Coltrane, Sonny Rollins, Wayne Shorter and scores more contemporary originals, all the way to Joe Lovano today, put it centre stage as jazz’s radiantly expressive equivalent of the classical violin.

And Lovano’s Paramount Quartet glows with all the saxophone’s pliable eloquence in a master’s hands, alongside comparably free-spirited guitarist Julian Lage, bassist Asante Santi Debriano and sometime Living Colour drummer Will Calhoun. Lovano is a brilliant bebop player, but also an inspired free-improviser, creatively inhabiting the sound worlds of classic jazz, global music and more texture-based European approaches. He played Charlie Haden’s First Song with Bill Frisell long ago, and here it returns on a lyrical solo guitar intro from Lage and an exquisite sax theme, spinning into long improv over vaporous guitar chords and soft, sleek runs.
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