Marc Copland - Crosstalk (2011)

Crosstalk reunites Copland with alto saxophonist Greg Osby, but this time for a full-fledged quartet that brings a different complexion to a clearly simpatico relationship explored on their two duo recordings. It's not just a first-time quartet record for the pair, it's the first time that Copland has recorded (at least under his own name), with bassist Doug Weiss, while it's been five years since he last recorded with drummer Victor Lewis. They're both inspired choices, working empathically with Copland's signature impressionism and delicacy, but adding more punch and fire than has been heard from the pianist since his quartet date with trumpeter Randy Brecker, which, not coincidentally, also featured Lewis. With Copland sharing compositional duties amongst the group, in addition to a couple of well-chosen standards, the drummer's "Hey, It's Me You're Talkin' To" swings with a firm but elegant hand, Copland's harmonic ambiguity funneled through its light bop melody, his soft touch and motivic approach to solo development intact, but with more grounded pointillism than usual. Ditto Osby, a saxophonist who always combining heady intellectualism with a deeper resonance, as here he builds his own solo of focused construction, working melodic fragments into lengthier, serpentine phrases. Copland revisits "Talkin' Blues," first heard on another duet disc with Peacock, but this time this heavily reharmonized blues - another Copland signature - simmers and, occasionally boils over, with Weiss and Lewis pushing and pulling Osby during an incendiary opening solo. Copland's other two tunes appear here for the first time: the surprisingly driving and direct title track, grooves more viscerally than anything Copland's written in some time; and the more characteristically ethereal "Slow Hand," a brooding ballad that's a dark contrast to the free-bop of Weiss' angular but unfailingly swinging “Ozz-Thetic,” where Osby and Copland work off each other, proving that time needn't dilute the strength of relationship. “Tenderly,” skirts the mainstream, but Copland's voicings keep Walter Gross' standard just the slightest bit off-kilter, as does the pianist's prismatic approach to the more bristling intensity of Gigi Gryce's hard-swinging “Minority.” Crosstalk speaks to the power of enduring friendships and the sound of surprise that happens when fresh blood is brought into the mix. ~ Extract by John Kelman, AAJ. 

Pirouet Records, PIT3054, 2011
Recorded 4th & 5th December, 2010 Live To Two-Track at Bennett Studios, New Jersey 

Musicians:
Marc Copland - Piano
Greg Osby - Alto Saxophone
Doug Weiss - Bass
Victor Lewis - Drums 

Tracks:
1. Talkin' Blues {Marc Copland} (6:53)
2. Diary Of The Same Dream {Greg Osby} (4:22)
3. Ozz-Thetic {Doug Weiss} (4:11)
4. Tenderly {Walter Gross} (7:45)
5. Crosstalk {Marc Copland} (8:12)
6. Slow Hand {Marc Copland} (7:15)
7. Hey, It's Me You're Talkin' To {Victor Lewis} (4:51)
8. Three Four Civility {Greg Osby} (3:46)
9. Minority {Gigi Gryce} (6:33) 

Total Time: 53:53 

Credits:
Producer, Recording - Jason Seizer
Mastering - Christopher Stickel [MSM Studios]
Cover Design, Photography - Konstantin Kern, Munich
Liner Notes - Bill Zavatsky 

Talkin' Blues

Greg Osby - The Invisible Hand (2000)

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, yet suffused with its own ornamental beauty. Hall is a master of the understated, perfectly chosen phrase. Both have worked with Osby on more than one occasion. But The Invisible Hand is an historic first: prior to its recording, Hill and Hall had never played together. Disappointingly, the two are paired only on Hill's "Ashes" and Hall's "Sanctus"; otherwise, they appear separately. In fact, Hall is present only on three of the album's ten tracks, giving listeners only the briefest glimpse of his talents. Hill, appearing on six numbers, is utilized more effectively; the pianist is especially brilliant on Fats Waller's "Jitterbug Waltz." Gary Thomas, an Osby contemporary, overdubs multiple woodwinds to create thick orchestration on "Nature Boy," "With Son," and a couple of others. Bassist Scott Colley and drummer Terri Lynne Carrington provide reliable rhythmic support throughout. But overall the record suffers from a discontinuity brought about by repeated personnel shifts. In a sense, The Invisible Hand sounds like three different albums, and Osby's production seems unnecessarily convoluted. ~ by David R. Adler, AMG. 

Blue Note, 7243 5 20134 2 5, 2000
Recorded 8th-9th September, 1999 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto Saxophone, Clarinet
Gary Thomas - Flute, Flute [Alto], Tenor Saxophone
Andrew Hill - Piano
Jim Hall - Guitar
Scott Colley - Bass
Terri Lyne Carrington - Drums 

Tracks:
01. Ashes {Andrew Hill} (8:02)
02. Who Needs Forever? {Howard Greenfield, Quincy Jones} (5:10)
03. The Watcher {Greg Osby} (5:40)
04. Jitterbug Waltz {Richard Maltby, Jr., Fats Waller} (7:40)
05. Sanctus {Jim Hall} (7:39)
06. [Back Home Again In] Indiana {James F. Hanley, Ballard MacDonald} (4:32)
07. Nature Boy {Eden Ahbez} (8:44)
08. Touch Love {Andrew Hill} (6:00)
09. With Son {Greg Osby} (7:29)
10. The Watcher, No. 2 {Greg Osby} (4:22) 

Total Time: 65:20 

Credits:
Producer, Liner Notes - Greg Osby
Co-producer - Kay Vaughn
Recording & Mixing Engineer - Joseph Marciano
Engineer [Assistant] - Nancy Marciano
Mastering Engineer - Nicholas Prout
Photography [Session] - Jimmy Katz
Art Direction, Design - Burton Yount
Liner Notes - Ted Panken

Greg Osby - Zero. (1998)

"Zero." represents Greg Osby's 3rd release for Blue Note records and perhaps his finest recording to date. Osby’s inaugural Blue Note release "Art Forum" sported a 360-degree turn for this artist. Having been a longtime collaborator with Steve Coleman and Cassandra Wilson in the "Mbase" days, Osby subsequently turned his creative juices towards Hip-Hop and the results were less than satisfying. "Art Forum" was a stylish entry into the modern jazz scene and re-established Osby as a major talent on the rise. Osby's 2nd release for Blue Note, "Further Ado" saw the advent of young piano phenom Jason Moran along with a cast of veteran jazz session musicians. "Further Ado" was fairly weak compositionally and lacked identity. Not a bad outing but at times sounded forced and hastily produced. On "Zero" Osby is backed by a fine bunch of young musicians who display earnest intentions and well-schooled technical attributes. The opener, "Sea of Illusion" demonstrates Greg Osby's easily identifiable technique and signature sound. On "Sea of Illusion" Osby artfully blends melody and dissonance in an angular yet rapid-fire fashion. His attack and execution is flawless. Osby tap dances over his alto sax, alluding to his disclosure of thinking like a pianist. Not just a technician, Osby emits fire and emotion; thus, making every note count. Perhaps if Bud Powell were an alto saxophonist, he would have sounded something like Greg Osby? On "Interspacial Affair" the young pianist Jason Moran displays wit and maturity with pervasive chord structures and strong dynamics. Moran superfluous sense of dynamics frequently prods Osby into taking several engaging, razor sharp alto and soprano sax solos. "Minstrale" is Osby's salutation to the fine jazz pianist Andrew Hill. Subtle melodic phrasing with traces of Monk, Moran captures the spirit of Andrew Hill in illustrious fashion. On "Nekide" drummer Rodney Green opens up with some nifty, dexterous stick work although he seems somewhat cautious or at times hesitant to mix it up on most of these cuts. "Deuce Ana Quota" is a lazy funk-blues romp and reminiscent of early 1970’s Lou Donaldson. Moran works the Hammond B-3 while guitarist Kevin McNeal strums delicate blues riffs to augment the spirited feel of the rhythm section. Osby is the bandleader and it shows in most instances. Despite the hefty dose of soloing and improvisation the band is tight and well-rehearsed under Osby’s direction. No doubt Greg Osby has the stuff to become a world-beater. His enormous talents as a composer and saxophonist have seldom been scrutinized. Blue Note records and Greg Osby have forged a strong relationship and with his current band the future looks that much brighter for jazz. ~ by Glenn Astarita, AAJ. 

Blue Note, 7243 4 93760 2 1, 1998
Recorded 8th-11th January, 1998 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto, Soprano & Sopranino Saxophones
Jason Moran - Piano, Organ [Hammond B-3], Fender Rhodes
Kevin McNeal - Guitar
Dwayne Burno - Bass (#1,2,7,8)
Lonnie Plaxico - Bass (#3-6)
Rodney Green - Drums 

Tracks:
01. Sea Of Illusion {Greg Osby} (5:13)
02. Interspacial Affair {Greg Osby} (6:59)
03. Minstrale {Greg Osby} (5:16)
04. Two Over One {Muhal Richard Abrams} (7:49)
05. Ozthetica {Greg Osby} (6:24)
06. Nekide {Greg Osby} (4:14)
07. Savant Cycles {Greg Osby} (5:59)
08. Extreme Behavior {Greg Osby} (3:06)
09. Deuce Ana Quota {Greg Osby} (6:53)
10. Penetrating Stare {Greg Osby} (4:57)
11. Concepticus In C {Greg Osby} (2:42) 

Total Time: 59:32

Credits:
Producer, Liner Notes, Mixing - Greg Osby
Recording & Mixing - Joseph Marciano
Mastering - Nicholas Prout
Art Direction, Design, Illustration [Digital] - P.R. Brown
Photography - Jana Leon

Greg Osby - Inner Circle (1999)

Jazz fans searching for a quintessential forward-thinking artist should look no further than the musical musings of Mr. Greg Osby. He's an artist who will not be satisfied with the status quo. Distinguished as an alto saxophone stylist, his voice is unique and easily recognizable among the masses. His recordings of the past few years have all been modern exercises in jazz music that are entertaining, cerebral, and illuminating. As any successful visionary, he has surrounded himself with like-minded individuals who continue to push the envelope of jazz; such as piano extraordinaire Jason Moran and vibraphonist Stefon Harris. His previous recording Symbols of Light (A Solution), which implemented a string quartet into his eclectic mix, was one of 2001's top jazz picks. Inner Circle continues on the same high level that Osby has been operating at throughout his career. His music is progressively expanding into new boundaries on the ubiquitous jazz theme. It swings, grooves and moves with a distinctive style. The recording features Osby originals with covers by Euro-Pop sensation Bjork and famous bassist Charles Mingus. The title Inner Circle could easily refer to one of the tightest set of young musicians paving the jazz path today. The musicians have been featured on recordings by Jason Moran and Stefon Harris. Bassist Taurus Mateen and drummer Eric Harland comprise one of the most dynamic and talented rhythm sections on the scene today. Osby and Moran have formed a unique and wonderful symbiosis over the past few years that allows for freedom and expression with wide possibilities. Stefon Harris' vibe work just keeps getting better. All the compositions are creative with odd patterns and complex arrangements that never leave the listener too far, and will also encourage a deeper appreciation for the art form. The many highlights include the circuitous and hypnotic "Fragment Decoding" and the brilliant "Inner Circle Principle" with its memorable solos expressed by each musician. With Osby at the helm, one can only anticipate the next move in his forward progression. Another top pick for 2002. ~ by Mark F Turner, AAJ. 

Blue Note, 7243 4 99871 2 8, 2002
Recorded 22nd & 23rd April, 1999 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto Saxophone
Jason Moran - Piano
Stefon Harris - Vibraphone
Tarus Mateen - Bass
Eric Harland - Drums 

Tracks:
1. Entruption {Greg Osby} (4:59)
2. Stride Logic {Greg Osby} (4:08)
3. Diary Of The Same Dream {Greg Osby} (4:14)
4. Equalatogram {Greg Osby} (4:07)
5. All Neon Like {Björk} (6:35)
6. Fragmatic Decoding {Greg Osby} (4:43)
7. The Inner Circle Principle {Greg Osby} (4:39)
8. Sons Of The Confidential {Greg Osby} (6:15)
9. Self-Portrait In Three Colors {Charles Mingus} (6:09) 

Total Time: 45:49

Credits:
Producer, Liner Notes - Greg Osby
Product Manager - Mantis Evar
Recording & Mixing - Joseph Marciano
Mastering - Allan Tucker
Photography - Till Krautkrämer
Photography [Session Photos] - Jimmy Katz
Art Direction, Design - Burton Yount