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| Public [ ÉLŐ ] |
| Greg Osby |
| első megjelenés éve: 2004 |
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| (2004)
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CD |
| 5.457 Ft
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| 1. | Rising Sign
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| 2. | Summertime
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| 3. | Visitation
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| 4. | Bernie's Tune
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| 5. | Equalatogram
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| 6. | Shaw Nuff
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| 7. | Lover Man
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Jazz / Modern Creative
Post-Bop
M-Base
Recorded: Jan 10, 2004
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. Public was recorded in January, 2004 at New York's Jazz Standard. Osby was playing in support of 2003's excellent St. Louis Shoes album. That band -- trumpeter Osby on alto, trumpeter Nicholas Payton, bassist Robert Hurst, and drummer Rodney Green -- all make this gig. The only change is the replacement of pianist Harold O'Neil with Japanese prodigy Megumi Yonezawa. The material features live renditions of three tunes from St. Louis Shoes; there are the reinventions of the two bebop classics, "Bernie's Tune" and "Shaw Nuff," each with staggered, jagged harmonic frameworks that are alternately jaggedly and pristinely wrought. Osby recontextualizes the original melodies in his own fragmented lyric image with phrasing that skips off the one beats and into the shadowy rhythmic corners painted by Yonezawa. Osby's interaction with the pianist is near symbiotic, but it is the fireworks he and Payton engage in that take the tunes over the top. Payton is stretched to his own limit here, walking a fine line between his blazing legato style out of the Fats Navarro lineage and into a space he seems to be eking out on his own with dissonance and angles built into the scalar heights of his solos. Of the new material, "Visitation" builds on Osby's "Bluesette," with a staggered melody where the one-two frontline engage not only in the creation of a head, but in a contrapuntal framework for the solos to take place in as well. Again, the rapport between Osby and Payton is eyebrow-raising. The album closes with a guest appearance by pop singer Joan Osborne fronting the band for "Lover Man." With a brief yet gorgeous piano intro, and Osby evoking Ben Webster's smoky style, Osborne offers a restrained, wonderfully able and sultry reading of the classic tune. Osby's weaves steamy fills around her, and his rhythm section brings her rendering of the lyrics a poignancy we haven't heard in a while. She brings the longing in the lyric to the fore, in a style which echoes the emphasis Billie Holiday brought to it. Payton underscores the verse with his bluesed-out solo. It's too bad there aren't more tunes featuring Osborne fronting this fantastic band. "Lover Man" provides a wonderful end to a deeply satisfying, even electrifying live date. Osby's creativity is still white-hot, and his penchant for immediate-sounding live recordings is unparalleled. In addition, in showcasing Ms. Osborne in front of a jazz audience, he has, perhaps, given this fine singer a new aesthetic and career option.
---Thom Jurek, All Music Guide
Greg Osby
Active Decades: '80s, '90s and '00s
Born: Aug 03, 1960 in St. Louis, MO
Genre: Jazz
Styles: Avant-Garde, Post-Bop, M-Base, Free Funk, Avant-Garde Jazz
Post-bop saxophonist Greg Osby was born April 3, 1960 in St. Louis, playing in a series of R&B, funk, and blues units throughout his teen years before attending Howard University. Upon graduating from the Berklee School of Music, he settled in New York City and went on to play behind Jack DeJohnette, Andrew Hill, Herbie Hancock, and Muhal Richard Abrams; during the mid-'80s, Osby also served alongside Steve Coleman, Geri Allen, Gary Thomas, and Cassandra Wilson as a member of the renowned M-Base Collective. Making his solo debut with 1987's Sound Theatre, Osby went on to record several sets for the JMT label, also earning notice for his impressive contributions to Hill's 1989 date, Eternal Spirit, and its follow-up But Not Farewell; with 1990's Man-Talk for Moderns, Vol. X, he cut his first headling session for Blue Note, with subsequent efforts for the company (including 1993's 3-D Lifestyles and 1995's Black Book), pioneering a distinctive fusion of jazz and hip-hop. While 1996's Art Forum captured the saxophonist in an acoustic setting, Osby continues exploring new avenues with each successive release, capturing the improvisational intensity of his live dates with 1999's Banned in New York and reuniting with Hill and fellow elder statesman Jim Hill for the following year's The Invisible Hand. 2001's Symbols of Light (A Solution) was a varied effort that witnessed him teaming with a string quartet, while the next year's Inner Circle was an older recording of sessions that featured a knockout version of Bjork's "All Neon Like." Osby teamed with pianist Marc Copland for 2003's Round and Round, while St. Louis Shoes was released that same year on Blue Note. Also released on Blue Note was 2005's Channel Three, which saw Osby working with drummer Jeff "Tain" Watts and bassist Matt Brewer.
---Jason Ankeny, All Music Guide |
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