{"id":2411,"date":"2021-01-24T17:29:57","date_gmt":"2021-01-24T23:29:57","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=2411"},"modified":"2021-06-24T16:50:55","modified_gmt":"2021-06-24T21:50:55","slug":"trio-tapestry-garden-of-expression","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/trio-tapestry-garden-of-expression\/","title":{"rendered":"Review: Joe Lovano Trio Tapestry’s ‘Garden of Expression’"},"content":{"rendered":"\n

Neo-traditionalists like Wynton Marsalis and Stanley Crouch have long desired the classification of \u201cjazz\u201d as \u201cAmerica\u2019s classical music.\u201d While this idea may bring more stature to the art form in certain social circles, it also largely marginalizes significant works by artists that do not fit their set preconceptions, particularly those in the avant-garde. Ironically, since the early 20th century, modern \u201cclassical\u201d composers have been stretching ideas of tonality, rhythm, and structure well beyond more conventional limits. Further, often these contemporary luminaries have inspired more experimental musicians in other forms as well. But listeners often still cling to the idea that somehow \u201cjazz\u201d and \u201cclassical\u201d are disparate concepts. Even Third Stream theorists like Gunther Schuller presuppose that some great wall ordinarily exists between the two styles. In reality, there is no divide, per se. Both are just different glimpses at a unified sonic art. Joe Lovano\u2019s Garden of Expression<\/em> (ECM, 2021) effortlessly accents the unity between these approaches.<\/p>\n\n\n\n

No, nothing in Garden of Expression<\/em> explicitly hints at a \u201cclassical\u201d pedigree. The instrumentation is atypical. There are no string instruments. While Marilyn Crispell provides a pianist\u2019s voice, she\u2019s long freed herself of any restrictions imposed by custom. What\u2019s more, in the eyes of some  \u201cclassical\u201d aficionados, history decrees the bandleader\u2019s saxophone some bastardized instrument worthy of castigation. Nevertheless, the album\u2019s essence lies in intimately hushed conversations between the artists, as one expects from chamber music. Substance pervades over form. It helps that the three artists have an extensive history. Trio Tapestry <\/em>(ECM, 2019) presented a beautiful reuniting of old friends. But this follow-up shares why they initially found themselves drawn to each other and new developments between them since. <\/p>\n\n\n

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