Bassist/composer Mario Pavone who turned 80 on November 11th died on Saturday, May 15, peacefully, after 17 years of co-existing with cancer.  But, like the postman undaunted by rain, sleet, snow, or hail, nothing—not even this affliction—could keep him from completing his mission to make two final albums. The first is dedicated to his granddaughter Isabella who died suddenly at age 23. The second, is a final work with his Dialect Trio.

At the end of February, Mario made his way from his Florida home on Madeira Beach to a sound studio in Tampa to record Isabella, featuring himself on bass and what he liked to call “the three Mikes” — his son and Isabella’s father, Michael Pavone on guitar and long-time collaborators Mike Sarin on drums and Mike DiRubbo on alto sax. The album will be released on the Portuguese label Clean Feed.

In March, Mario and his beloved wife Mary made the trek from Florida to New York City to record a last album with the other two members of his Dialect Trio, pianist Matt Mitchell and drummer Tyshawn Sorey as well as trumpeter, arranger and bosom friend Dave Ballou. This recording is entitled Blue Vertical and is set for release on Out of Your Head Records.  Mario oversaw the mixing and mastering of both recordings shortly before his death with the devoted assistance of Dave Ballou. The release date for both albums is June 18.

On October 23, 2020, Litchfield Jazz hosted Mario Pavone’s Dialect Trio, introducing its Litchfield Jazz Presents live-stream series from Telefunken Soundstage in South Windsor, Connecticut.  The

program marked his 80th birthday and featured an interview with Public Radio personality and long-time fan of Mario’s, John Dankosky. This would be his last public concert.

Mario Pavone fell in love with the bass in college while studying engineering, a skill he’d never practice as his fate was sealed in 1961 when he heard John Coltrane play at the Village Vanguard. When Coltrane died, this fledgling engineer put down his slide rule, walked out of his office, and went to Coltrane’s funeral. He never looked back, not once in his six-decade career as an internationally respected bassist.

Pavone was part of many pivotal milestones in avant-garde jazz with other great innovators.  In the 70s he played with Wadada Leo Smith, Anthony Braxton, Bill Dixon, Paul Bley, Dewey Redman, Carla Bley, and others. By the mid-80s he was part of the “downtown scene” centered around the Knitting Factory in New York. He met Thomas Chapin in Hartford at one of its summer Monday Night Jazz events. At 21, Thomas had become Lionel Hampton’s arranger and musical director. As Thomas struck out on his own, he formed a trio with Pavone on bass and Steve Johns on drums, later to be replaced by Mike Sarin. This trio recorded and toured worldwide for six years until leukemia claimed Chapin’s life at 40.

Litchfield Jazz had the honor of presenting Chapin with Pavone at the first Litchfield Jazz Festival in 1996 and then Pavone with Chapin’s band the very next year. In ‘96 some of the audience, expecting straight-ahead jazz, looked a bit bewildered.  In ‘97 they gave a standing ovation! Mario Pavone performed on the Litchfield Jazz Festival 10 times in 25 years.

After Chapin’s passing, Pavone launched a touring and recording career with many young players including Tony Malaby, Steven Bernstein, Gerald Cleaver, Peter Madsen, Craig Taborn and, more recently, Tyshawn Sorey and Matt Mitchell.

Mario Pavone received a Chamber Music America/Doris Duke New Works Grant and a Connecticut Commission on the Arts Distinguished Artists award among other honors. He made more than 30 critically acclaimed recordings as a leader. His paintings and photographs have graced the covers of dozens of albums. A Renaissance man, he became both an avid gardener and cook.

Mario had a quarter-century affiliation with Litchfield Performing Arts/Litchfield Jazz.  He served as a board member and both board president and vice president over the years. He was a faculty member of Litchfield Jazz Camp from its inception and partnered with me when I was the fledgling artistic director of the Litchfield Jazz Festival with a lot to learn. I was infinitely grateful for his mentorship, his comradeship, and his love.

Pavone’s dedication to cutting-edge music and his unique take on the bass, its performance, and composition never faltered. And he never tired of showing us all—if we were willing to take a deep dive and really listen—he would take us along for a ride we’d never forget.

Godspeed Mario.

Vita Muir

Founder & Executive Director

Litchfield Performing Arts