This was my second trio recording and I wrote all the material for the session, specifically for Dave and Elvin. Dave and I rehearsed to work things got, and then we recorded with Elvin in a very spontaneous way.
We recorded this in two afternoons. Those same nights, I was playing at Bradley’s, with John Hicks, and in Paul Motian’s Trio, with Bill Frissel. And Elvin just turned seventy the week before.
The compositions here are about my life. I wrote Eternal Joy for Elvin and John Coltrane and the joyous music that has inspired me to become who I am today. Studio Rivbea is for Sam River’s loft, where I first met Dave. I dedicated this to Sam, his amazing music and legacy.
Villa Paradiso is about where I live, that’s what Judi and I call our home. Days of Yore was also written for Elvin and his history. His days with the classic Coltrane Quartet inspired this.
The only standard is Ghost of a Chance, a beautiful ballad my Dad used to play that Lester Young made famous. It was one of the last tunes we recorded at the session. During the playback, Judi was sitting with Elvin listening and he commented to her, I love that song. The last time I played it was with Wardell Gray.
" Listeners whose first exposure to Joe Lovano was his Blue Note output of the 1990s might assume that Quartets (recorded… read more"" Listeners whose first exposure to Joe Lovano was his Blue Note output of the 1990s might assume that Quartets (recorded at New York’s famous Village Vanguard) was his first live album. But in fact, Worlds is a live recording that was made before Lovano signed with Blue Note and became a such a huge name in the jazz world. Recorded at the Amiens International Jazz Festival in France on May 5, 1989, Worlds finds the saxman leading a group that includes his wife, Judi Silvano, on vocals, Bill Frisell on guitar, Tim Hagans on trumpet, Gary Valente on trombone, Henri Texier on bass, and Paul Motian on drums. Lovano excels on the tenor and soprano saxes as well as the obscure alto clarinet, and Silvano’s adventurous improvisations demonstrate that she was already quite distinctive in 1989; nor are Frisell’s meaty solos anything to complain about. Nonetheless, this is hardly a performance that goes out of its way to be accessible — classical-influenced post-bop pieces like “Tafabalewa Square,” “Spirit of the Night,” and “Round Dance” are as angular as they are cerebral and abstract. But if the listener is willing to accept this uncompromising, challenging CD on its own terms, the rewards are abundant."Alex Henderson, All Music Guide