Joe Lovano & Dave Douglas: Sound Prints
August 29th, 2013
Salt Lake City, UT @ Red Butte Gardens

Core sound binaurals > battery box > edirol r-07 24/44.1 khz > WAV > CD Wave Editor (tracking) > FLAC (24/44)
A royboy recording.

01. Sound Prints > Sprints
02. Weatherman
03. Nefertiti [Wayne Shorter]
04. To Sail Beyond the Sunset [Wayne Shorter]

Joe Lovano - tenor saxophone
Dave Douglas - trumpet
Lawrence Fields - piano
Linda Oh - double bass
Joey Baron - drums

Wayne Shorter's 80th Birthday Celebration. ACS Trio (Geri Allen - Terri Lyne Carrington - Esperanza Spalding) and Sound Prints (Joe Lovano & Dave Douglas) were the opening acts for the Wayne Shorter Quartet.

https://www.youtube.com/watch?v=UwHFbo76ll0

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https://jazztimes.com/reviews/live/concert-review-wayne-shorter-quartet-at-symphony-hall-boston/

Review from Boston show:

The Douglas-Lovano quintet, which followed after a short pause for the stage to be reset and the piano retuned, was more obviously hierarchical. Douglas and Lovano manned the front line on trumpet and tenor sax, respectively, and took turns announcing tunes and introducing (and reintroducing) the band, which is rounded out by Lawrence Fields on piano (best known otherwise as a member of Christian Scott’s band), Linda Oh on bass (she’s also in Douglas’ working quintet) and Joey Baron on drums.

Baron, one of the more in-demand and inventive drummers now at large, was playing his kit with his hands early into the group’s first number, “Sound Prints,” the Lovano original for which the ensemble is named. Lovano and Douglas each took strong solos, followed by another from Fields, with Oh anchoring the action with her fleet pizzicato work and the horns eventually kicking back in with some masterful interplay. A similarly brisk reading of Douglas’ “Sprints” followed, and then it was time for a pair of compositions the group had commissioned from Shorter himself, unveiled two months earlier at the Monterey Jazz Festival. Curiously, neither piece (their titles were “Destination Unknown” and “To Sail Beyond the Sunset”) afforded the principals much space to stretch out with their horns. Instead, Douglas and Lovano were confined more to playing written lines than one would expect, and the featured soloist on both pieces was Fields, who rose admirably to the occasion. Oh also took a strong solo on the second commissioned work, and Baron was at his quick-witted best accompanying her, mostly by striking the rims and sides of his assorted drums, the two of them smiling widely at each other as her solo concluded.

Was it Shorter’s little joke to keep the horns on a short leash for the commissioned works? His slyly reducing his risk of being upstaged in Boston? Probably not. After all, two very strong horns were similarly constrained through that classic recording of “Nefertiti” by Davis’ second great quintet, repeating its memorable theme while the rhythm section sizzled inventively beneath them. Shorter doesn’t let others’ expectations dictate how he composes. Whatever his motivation in this case, though, the intense blowing that had characterized Sound Prints in previous appearances seemed tightly rationed here by comparison.