Joe Lovano
| Joe Lovano | |
|---|---|
Photo by Ed Newman
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| Background information | |
| Birth name | Joseph Salvatore Lovano |
| Born |
December 29, 1952 Cleveland, Ohio, U.S. |
| Genres | Jazz, modal jazz |
| Occupation(s) | Musician |
| Instruments | Tenor saxophone |
| Years active | 1970s–present |
| Labels | Soul Note, Evidence, Enja, Blue Note |
| Associated acts | Saxophone Summit, SFJAZZ Collective, McCoy Tyner, Shades of Jazz, The Thad Jones/Mel Lewis Orchestra, Judi Silvano, Paul Motian |
| Website | www |
Joseph Salvatore "Joe" Lovano (born December 29, 1952) is an American jazz saxophonist, alto clarinetist, flautist, and drummer. Since the late 1980s, Lovano has been one of the world's premiere tenor saxophone players, described by critic Chris Kelsey of Allmusic as "the tenor titan for our times" and relentlessly creative and innovative, earning a Grammy Award and several mentions on Down Beat magazine's critics' and readers' polls. He is married to jazz singer Judi Silvano with whom he records and performs. Lovano was a longtime member of a trio led by drummer Paul Motian.
Lovano was born in Cleveland, Ohio, to Sicilian-American parents. His father's family came from Alcara Li Fusi in Sicily, and his mother's family came from Cesarò, also in Sicily. In Cleveland, Lovano was exposed throughout his early life to jazz by his father, tenor saxophonist Tony "Big T" Lovano, who taught him the standards, how to lead a gig, pace a set, and be versatile enough to always find work. Lovano started on alto at age six and switched to tenor five years later. John Coltrane, Dizzy Gillespie, and Sonny Stitt were among his earlier influences. After graduating from Euclid High School in 1971, he went to Berklee College of Music, where he studied under Herb Pomeroy and Gary Burton.
After Berklee he worked with Jack McDuff and Dr. Lonnie Smith. After three years with Woody Herman's orchestra, Lovano moved to New York and began playing regularly with Mel Lewis's Big Band. This influence is still present in his solos. He often plays lines that convey the rhythmic drive and punch of an entire horn section.
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