Eclectic Fusion / Post Bop • United States
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Saxophonist, composer, producer and educator Greg Osby has made an indelible mark on contemporary jazz as a leader of his own ensembles and as a guest artist with other acclaimed jazz groups for the past 20 years. Highly regarded for his insightful and innovative approach to composition and performance, Osby is a shining beacon among the current generation of jazz musicians. He has earned numerous awards and critical acclaim for his recorded works and passionate live performances. Born and reared in St. Louis, Greg Osby began his professional music career in 1975, after three years of private studies on clarinet, flute and alto saxophone. Coming from a vibrant and musical city, Osby showed an early interest in the performing arts and spent his years in secondary school with a heavy involvement in Blues and Jazz groups. In 1978 Osby furthered his musical education at Howard University (Washington, D.C.) where he majored read more...
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GREG OSBY Discography

GREG OSBY albums / top albums

GREG OSBY Greg Osby And Sound Theatre album cover 0.00 | 0 ratings
Greg Osby And Sound Theatre
Eclectic Fusion 1987
GREG OSBY Mindgames album cover 0.00 | 0 ratings
Eclectic Fusion 1988
GREG OSBY Season Of Renewal album cover 0.00 | 0 ratings
Season Of Renewal
Eclectic Fusion 1989
GREG OSBY Man-Talk for Moderns, Vol. X album cover 0.00 | 0 ratings
Man-Talk for Moderns, Vol. X
Eclectic Fusion 1991
GREG OSBY 3-D Lifestyles album cover 0.00 | 0 ratings
3-D Lifestyles
Eclectic Fusion 1993
GREG OSBY Black Book album cover 0.00 | 0 ratings
Black Book
Eclectic Fusion 1995
GREG OSBY Art Forum album cover 0.00 | 0 ratings
Art Forum
Eclectic Fusion 1996
GREG OSBY Further Ado album cover 4.00 | 1 ratings
Further Ado
Post Bop 1997
GREG OSBY Zero album cover 0.00 | 0 ratings
Eclectic Fusion 1998
GREG OSBY The Invisible Hand album cover 0.00 | 0 ratings
The Invisible Hand
Eclectic Fusion 2000
GREG OSBY Symbols Of Light (A Solution) album cover 0.00 | 0 ratings
Symbols Of Light (A Solution)
Eclectic Fusion 2001
GREG OSBY Inner Circle album cover 0.00 | 0 ratings
Inner Circle
Eclectic Fusion 2002
GREG OSBY St. Louis Shoes album cover 0.00 | 0 ratings
St. Louis Shoes
Eclectic Fusion 2003
GREG OSBY Channel Three album cover 0.00 | 0 ratings
Channel Three
Eclectic Fusion 2005
GREG OSBY 9 Levels album cover 0.00 | 0 ratings
9 Levels
Eclectic Fusion 2008
GREG OSBY Reflections Of The Eternal Line album cover 0.00 | 0 ratings
Reflections Of The Eternal Line
Eclectic Fusion 2020

GREG OSBY EPs & splits

GREG OSBY live albums

GREG OSBY Greg Osby / Cornell Rochester album cover 0.00 | 0 ratings
Greg Osby / Cornell Rochester
Eclectic Fusion 1994
GREG OSBY Banned In New York album cover 4.50 | 1 ratings
Banned In New York
Post Bop 1998
GREG OSBY Public album cover 0.00 | 0 ratings
Eclectic Fusion 2004

GREG OSBY demos, promos, fans club and other releases (no bootlegs)

GREG OSBY re-issues & compilations

GREG OSBY singles (1)

.. Album Cover
0.00 | 0 ratings
Mr. Gutterman
Eclectic Fusion 1993

GREG OSBY movies (DVD, Blu-Ray or VHS)

.. Album Cover
0.00 | 0 ratings
Solos - The Jazz Sessions
Eclectic Fusion 2008


GREG OSBY Further Ado

Album · 1997 · Post Bop
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If someone were to stop me on the street and ask me to name one artist who epitomizes modern jazz, there’s a good chance my answer would be saxophonist Greg Osby. Take his “Further Ado” album, although released in 1997, if I were to hear it in a blindfold test, I would have guessed it just came out this year. Although Greg has recorded many hip hop and avant-funk oriented electronic discs, “Further Ado” features a large acoustic ensemble and it is pretty much pure jazz, although its jazz of a very modern and eclectic mix. Greg and his crew on here mix up post bop, fusion, free jazz and Afro-Latin grooves in compositions that are unmistakably downtown NYC. Like so much of today’s jazz, the melodies and tonality on here veer from extended harmonies out into atonality without a noticeable difference between the two. The line between playing with the chords, or moving outside, is blurred.

Osby has an excellent nine piece mini big band assembled on here with top musicians in every chair, but honorable mention can go to drummer Eric Harland, who handles a myriad of rhythmic styles, and pianist Jason Moran, whose lively solos mix Herbie Hancock elegance with Matthew Shipp styled intense mayhem. Many of the tracks on “Further Ado” are good, but this album’s main weakness is a preponderance of tracks with slower tempos. The abstract melodies on here are not particularly memorable, therefore a certain amount of energy is needed to keep things interesting. The slower numbers aren’t really ballads per se, there is not really enough melody for that, but are more like bump-n-grind jam sessions that don’t always gel. Certainly one of the best tracks on here is the more energetic “Heard”, on which trumpeter Tim Hagans mirrors the angry blasts of Miles’ “Live at the Fillmore’. We certainly get enough modern trumpeters who echo Miles’ soft mute sound, its nice to hear someone who remembers his other side.

In short, this album’s strong points are its very ‘modernity’, its smart music that avoids anything predictable or cliché. The lines between swing, funk and rock, as well as differences between outside or straight ahead soloing, are all blurred. This album’s weakness is a lack of memorable melodic writing, which is magnified when the band covers one standard, “Tenderly”. Now there’s a melody you can hang your hat on, and it stands out after hearing so many tracks that feature purposeful modern abstraction that can sometimes hit a level of numbness.

GREG OSBY Banned In New York

Live album · 1998 · Post Bop
Cover art Buy this album from MMA partners
Similarities with Miles Davis "At The Plugged Nickel" with not only the music but the atmosphere injected into the recording. Sure it is not the famous Quintet but the music has a similar hurried Bop feel with the timing and the way Greg and the band play their solos in a manner that just keeps it all moving along. The other point is "Greg Osby" decided to use a mini disc player placed on a table in front of the bandstand and that was it. Lo-fi but not in a bad way it actually does enhance the music and it does sound like you are in a club with banter and glasses,applause etcetera in the background with the music still being quite enjoyable. Raw and uncompromising Jazz is what this album is about with only one ballad which is beautifully treated written by "Duke Ellington" and all the compositions bar the first are written by Jazz greats such as "Sonny Rollins","Charlie Parker", "Thelonious Monk" and of course the Duke. Greg has penned one and that is the first composition "13th Floor". The band are a Quartet and are all his regulars at the time with "Jason Moran" on piano, "Atushi Osada" playing bass,"Rodney Green" drums and "Greg Osby" is blowing his alto saxo-phone. The band were not even aware that the recording was taking place except Greg of course who stated that he did not want them to feel uptight, he just wanted to record what they really sound like on a normal night for this period back in 1998. The club where the recording took place is undisclosed and the audience were unaware as well because as Greg said he just wanted a normal night with half the audience not even listening.The sound being recorded in the manner that it was does give a little uneven distrubution with the band members but it is not too bad. Of course Greg's alto is loud and clear but Rodney on the drums has lost a little volume but there was only one microphone on the table and the closer you are the louder you will be. Still though the atmosphere is there and it does have that 40, to 60's live recorded sound with some absolutely awesome jazz played by the entire band.

"13th Floor a mid tempo Greg Osby composition is the begining to this show and with a fairly down tempo intro by Greg and the band with some wonderful phrasing from Greg during his solo. Jason Moran is superb with his turn on piano and as Greg did he builds throughout.The first four tunes are all between 12 to 14 minutes in length so each musician gets plenty of space and with the following the Sonny Rollins tune "Pent Up House" is at a quicker tempo and played with great intensity and the entire band are just pushing it along with a great Bop influence. The Ellington tune,"I Didn't know You" is the ballad" and played beautifully. We have "Bigfoot" by "Charlie Parker" and of course it is BeBop in style and play and is the absolute highlight for me with Greg really putting that Bird influence there and the band sounding like they were back there in the early 1950,s. The Monk tune 52nd Street is the album closer and a night of classic jazz from the entire band.

Greg also did not introduce one tune throughout as Greg says "this is not radio". They just played them one straight after the other and jazz with more jazz is the result with also one very nice live jazz album included.

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