Post-bop alto saxophonist Greg Osby has a restless soul. Throughout his many albums he has hopped into and merged genres like a man trying on hats, experimenting with rap and hip-hop, funk, fusion, avant-garde, string quartets, and even what passes for mainstream jazz these days. Channel Three finds him…
Greg Osby has certainly been prolific over the course of the last decade. His outings for Blue Note are always challenging, always extending one boundary or another in his own idiosyncratic jazz iconography that uses elements of the historical tradition, the mainstream, and the avant-garde> in forging that signature….
Saxophonist Greg Osby attacks a varied mix of jazz standards on St. Louis Shoes with results that sound both well within the “tradition” and utterly modern. Reminiscent of midcareer Wynton Marsalis, Osby seems to want to mix the Cotton Club-style swing of Duke Ellington with the angular bebop and…
Osby recorded Inner Circle in 1999 but chose to postpone its release until 2002, for artistic reasons. Save for Tarus Mateen in place of Lonnie Plaxico, the disc boasts the same lineup as Jason Moran’s debut, Soundtrack to Human Motion, and a similar temperament as well. Each piece has…
Saxophonist Greg Osby’s previous efforts as a bandleader have included forays into song forms and jazz-funk, and have been notoriously uneven. This one, which prominently features a string quartet, is similarly frustrating. At his best, Osby demonstrates a talent that is not only open-minded but also structurally insightful; his…
Though chock full of Osby’s signature brand of dissonance, The Invisible Hand is one of the altoist’s mellower, more contemplative offerings. Its most novel aspect is the inclusion of pianist Andrew Hill and guitarist Jim Hall, two of jazz’s fascinating elder statesmen. Hill’s piano style is fractured and fragmented,…
Rock supergroups were a common occurrence, particularly in the ’70s and ’80s, with such bloated stadium outfits as Asia and ELP offering up blockbuster hits. The jazz supergroup, however, is not quite so common. One might expect the same dueling egos making muddled music. New Directions defies this expectation…
The teaming of Joe Lovano and Greg Osby, two of the most exciting saxophonists of the ’90s, is kind of a dream come true, and it’s a pleasure to say that Friendly Fire doesn’t disappoint. True, it may not be as adventurous as some listeners may have hoped for, but it’s undoubtedly vibrant hard…
Probably the greatest set in Baby Face Willette’s all-too-slim discography, Stop and Listen matches the organist with the hugely sympathetic team of guitarist Grant Green and drummer Ben Dixon (the same trio lineup who recorded Green’s debut LP, Grant’s First Stand). With no saxophonist this second time around, it’s…
While it’s true that Baby Face Willette’s Stop and Listen is widely regarded as his finest recording, this, his Blue Note debut from January of 1961, should not by any means be overlooked. After all, before this session he had the same lot most of Blue Note artists did…