Review: Joe Lovano’s ‘Paramount Quartet’

The performance by Joe Lovano’s Paramount Quartet at the 2025 Big Ears Festival was revelatory, in some ways the polar opposite of his Trio Tapestry oeuvre. The quartet – including guitarist Julian Lage in his first appearance on an ECM recording and Lovano’s longtime collaborator bassist Santi Debriano – rocked the whole set, with septuagenarian Lovano dancing while riffing. The double bass drum setup of Will Calhoun, probably best known from his heavy groove work with Living Colour, was probably a clue this would be the case. The quartet’s self-titled recording (ECM, 2026) retains some of that same vibe, especially on the closing track, “Congregation.” But it is an overall more balanced and highly melodic effort than their live performance.

The opening “First Song,” penned by Charlie Haden and Abbey Lincoln, is a mellow, flowing piece that Lovano used to play in the former’s Quartet West and originally recorded with Paul Motian. Here, Lovano’s tenor tone is warm and soft, answered brightly and lyrically by Lage’s fluid guitar. The linkage between the leader’s horns (tenor, G Mezzo soprano, and taragato) and Lage is ultimately the defining feature across the album. But Calhoun’s inventive drumming goes far beyond simple time keeping and Debriano plays with an authority that is particularly soothing in arco mode.

Lovano’s “Amsterdam” follows with the saxophonist on G mezzo soprano, in a lively, convivial dialogue with Lage as the bass-drum tandem prove more feisty. Lage delivers splashes of color in jagged rhythms, inspiring Lovano to freely improvise in response to skittering beats.  “The Call” floats on the outer edges as Lage almost mirrors Lovano’s ideas. Calhoun stirs a minor ruckus, sending the leader’s G mezzo soprano into a deeper search, before Debriano switches into a long, arco drone to carry the piece out. As three pieces unfold, the concept of texture, the fragility of Lovano’s tone, and the piece’s unhurried nature bear some similarity to Trio Tapestry.

That all changes with “Fanfare for Unity” where Calhoun deconstructs a funk riff, as horn and strings move in brightly marching steps. It swings in a fun, off-kilter way.  Lage takes a lengthy intro to Wayne Shorter’s “Lady Day,” coloring the tune with bluesy tones. Lovano’s full-toned tenor joins by evoking “Lush Life,” carrying forward a beautiful, melancholic sheen. “The Great Outdoors” finds Lage plucking joyously in a folksy mode, that pairs well with the distinctive sonorities of Lovano’s taragoto.  While the tune has an overall open feel, Calhoun freely bangs away, as if backing a more forceful assault from the two melodic instruments. But it’s the closer, “Congregation” where the quartet engages in a full body swaying mode, yet another pleasant surprise in this varied set, which sends up a multitude of ideas within these seven pieces.

Never having worked together before, the chemistry between Lovano and Lage is simply remarkable, especially when backed by a drummer as distinctive as Calhoun.  Paramount Quartet is a delightful, unpredictable listen that both comforts and thrills.

‘Paramount Quartet’ will be released on ECM Records on May 29, 2026. It can be purchased directly from the label.

Photo credit: Sam Harfouche, ECM Records