Jazz aficionados are wont to go on about the importance of innovation in the music - the "sound of surprise," as it were. And more often than not, the innovations most prized are those that go into the (now over-explored) realms of the weird and abstract. But there is another sort of creativity in jazz that is all too often ignored -- the search, not for the new, but for the true. And for an improvising artist, the most important truth is the discovery of an honest, unique voice, a sound that is distinctive, a sound that is the true expression of the musician's unique personality. Tenor saxophonist Joe Lovano is one of the few modern players in jazz whose sound is immediately recognizable and wholly original. And for that matter, stunningly beautiful too.

Much of "I'm All for You" is a reflection on the romanticism of great tenor-men of yore. The album opens with the title track, an homage to the iconic Coleman Hawkins recording of Body and Soul. Later, Lovano offers a nod to Stan Getz with "Early Autumn," the song that made Getz a star with the Woody Herman band decades before Lovano took a chair in Herman's Thundering Herd. And though the album is devoted to ballads, Lovano closes the program with one of Coltrane's most supercharged burners, "Countdown." Lovano cuts the tempo by more than half, and though the tune still isn't a ballad per se, it is so leisurely by contrast to the original, that it fits in perfectly with the relaxed atmosphere of the disc.

At the keyboard is one of the last of the true greats of jazz, Hank Jones, whose playing combines the urbanity of Teddy Wilson with the modern jazz harmonies of Thelonious Monk. Jones may not be as nimble as he once was, but his playing is more wise and wistful than ever. Worth the price of admission is a moment in Jones' solo on "Like Someone in Love" when he slips into a gentle stride that, just in the left hand alone, paints an achingly beautiful picture of the last dancers on the floor.

Lovano has a quirky and elliptical lyricism. The melodies he creates are unpredictable, but no less melodic for their unexpected turns and jogs. And then there is his tone, gauzy and soft-edged like something from a half-remembered dream. Many notes fall away with that gentle sigh Ben Webster gave phrases when he was in a boudoir frame of mine. And yet, the music never flags or grows sleepy, as Lovano's playing is always alive with the anxious, searching quality of John Coltrane's best work.

So described, the virtues in Lovano's music might seem contradictory. But such apparent contradictions have often been the energy source for the best in jazz. The great musicians of jazz's golden age created music that was at the same time intellectually serious and unabashedly beautiful. Lovano has rediscovered that creative tension - no doubt in part because of his collaboration here with Jones, who never lost it. The record is a perfect balance of new and old, of the ascetic and the romantic. "I'm All for You" is what modern jazz can, and should, be all about.

Joe Lovano is usually at the top of his game but this is just too slow for one album. Most song if not all have no beat what so ever and just too dull.

Joe Lovano is a indeed a very fine tenorplayer, together with Hank Jones in the rhythmsection you might think it can't go wrong. But there is Paul Motian, he's messings things up. Thay way he plays is very special but it don't match with this type of music. He rizzels and sizzels all the way through. It don't make sense to me.
My second point is the sound quality. I love the sound of the piano and the tenor, but the bass sounds weak and to soft, it isn't the sound of George Mraz.
Well that are the negative things.

The positive things are as many. Joe Lovano plays beautiful and so does Hank Jones, the comping of Jones is very pleasent.
The tracks are a nice mix of standards and originals. You can surely say that the playing of this guys has some body and soul. In short, do you love great tenorplaying buy this cd and don't mention the sometimes disturbing drummer. Do you like some intrusive drums, well buy this record also, you get that and also some very fine Joe Lovano for free!!!

Lovano rides again! Joe's improvisatory flexibility is amazing. He can play, and fantastically well, in all styles. He sounds like nobody else but this time makes us think of Lee Konitz and Warne Marsh at their best. Impecable rhythm section, magnificent choice of songs. Perfect with a glass of good wine and dim lights!

I am a 22 year-old jazz enthusiast.

In my younger years I would incessantly make fun of my father for his gargantuan jazz CD collection, his nerdy mess-organization, and his defense of his passion, "you don't have the aesthetic appreciation to understand this music." While it was all part of his sense of humor, and he was joking at least in part, there was a huge amount of truth to his facetious saying.

Jazz is like coffee, or cigarettes, or old scotch. It is an acquired taste, and every person has his or her own preferences.

However, there are generational gaps of preference. Lovano, for the most part, is straight up for the baby boomers. His sax is mellow, his tone thick and sultry, breathy and creamy. His style is patient and minimal, subtle and quaint, uneventful like a slow moving train.

The percussion in this CD reminds me of Larry Mullin with U2, definitely not sound-wise, but tempo and contribution-wise. There are no fancy fills, no snazzy high hat tricks, just plain ambient classic jazz drums. The rest of the group all plays their parts, but again, Lovano is the central attraction here.

I STILL LOVE THIS CD SOMEHOW, SOMEWAY. I DON'T KNOW, I CAN'T UNDERSTNAD WHY I DIDN'T LIKE CLAM CHOWDER UNTIL I WAS 20 . . .

Lovano draws awfully close to Pharoah Sanders in tone here. A couple songs sound like he really spent some time keeping the sound raw in the studio and not doctoring it too much. The pay-off is huge. If you like mellow, predictable, tone rich jazz, then this CD was tailored specifically for your tastes.

4 and ½ stars.