Invisible Hand

Greg Osby is one my favorite current sax men and combine him with Jim Hall on guitar an excellent album.

For me, the highlight of Greg Osby's recent CD "The Invisible Hand" is the presence of Andrew Hill, an unforgivably under recorded pianist. Other than a 1998 French solo piano performance documented by Jazz Friends Production that noone seems to know about, Hill has not appeared on any recording since Reggie Workman's 1993 "Summit Conference". Hill is one of the most original artists in the history of jazz. His individuality is enhanced because unlike Charlie Parker, Bud Powell, Bill Evans or John Coltrane, he has never been imitated and noone has attempted to apply his concepts to music. His use of space and touch create a tension in the music that mesmerizes the attentive listener.This CD also benefits from the appearance of guitarist Jim, Hall, whose approach to the guitar over the last 30-40 years has influenced every guitarist that followed him. Despite the presence of such strong personalities as Hall and Hill, this is unmistakenly Greg Osby's date. Hall and Hill adapt what they do, to Osby's vision. It is a continuation of the approach began with "Art Forum" and developed further in "Further Ado" and "Zero". The difference here is that the inclusion of the elder statesmen elevates the music to new heights.This is a very subtle CD. The tempo rarely exceeds a brisk walk. Despite the "ballad like" nature of the disk, the complexities in the music are submerged in the interaction between the musicians. The original compositions illustrate this, but Osby's reworkings of standards such as Jitterbug Waltz, Indiana and Nature Boy are probably the best examples of Osby's approach. Because of the familiarity of the tunes, it is easier for the listener to concentrate on what the musicians are doing. It is special. Osby manages to make the standards sound like original compositions while never losing the connection to the standard. Not an easy task to complete. The disk also includes two Hill-Osby duets that show Osby's growth as a player, as well the intensification of the rapport between these two musicians since their duets on Hill's 1990 "But Not Farewell". Exquisite.Overall, a very satisfying experience to the listener that gives the CD the attention it deserves. The remaining musicians include Gary Thomas - tenor and flute; Scott Colley - bass; and Teri Lynn Carrington - drums.

The most eyecatching thing about _The Invisible Hand_ isn't the leader but the sidemen: the alto saxophonist Osby has put the great 1960s hardbop/avantgarde pianist Andrew Hill together with the classic mainstream jazz guitarist Jim Hall (though Hall has been notably open to experiment, as any of his own albums from the last few decades will attest). The rest of the band is Gary Thomas on flute & tenor; Scott Colley on bass; & Terri Lyne Carrington on drums. The feel of the album is cool yet intense; only "Indiana" is taken at a fast clip, & the album's prevailing tonality is that of the blues even when the tunes themselves (such as Andrew Hill's fine "Ashes" or Hall's "Sanctus") are structures of great sophistication. The album is perhaps slightly too self-conscious in its presentation (it is self-produced): the instrumentation is varied with every track, & the focus is, despite the stellar cast, very much on Osby (Thomas, for instance, gets exactly one full solo on the whole album plus a few flute obbligatos; Osby on some tracks overdubs countermelodies to himself)--yet he sustains that focus admirably, his solos admirably logical & yet highly expressive. The inclusion of two takes of the duet with Andrew Hill is particularly valuable--not a repeated idea in sight.This is an album that takes a while to sink in, but contains more substance than many more immediately impressive discs. Osby in the liner notes is a bit laborious in his dues-paying, as seems to have become de rigeur post-Wynton; but this doesn't affect the music, which is packed with quiet intelligence. Nice to hear an album that's understated but makes me sit up to pay attention instead of fall asleep.

Greg Osby is making a habit of releasing music that is both diverse in it's scope and always intellectually challenging. His work with pianist Jason Moran, vibe sensation Stefon Harris, and tenor saxophonist Mark Shim has proven Osby's ability to inspire the best out of his younger band members. "The Invisible Hand" is a tribute to all alto players and the different moods that the instrument evokes. It's both subtle and a ton of bricks at the same time. Although Osby has been around a long time, and in a plethera of different jazz genre's, I think he's found his niche' with a traditional, straight ahead jazz styling. At least for this album that is...

I would recommend the prospective buyer to investigate carefully this cd: some songs are familiar, like ahbez' nature boy or waller's jitterbug waltz. But this is not a standards cd: the songs are basis for some experiment. I personally like it, but understand that it might catch some by surprise. As I write this, there are used versions avaible for less than $5, which means some people bought it and are now really trying to get rid of it. I'm keeping my copy.The atmosphere is very mellow throughout the cd. It is very spare, with very relaxed tempo. I think it is the slowest version I own of the jitterbug waltz mention below (out of 3). Hall and Hill are great players, who would take first credit over Osby in any jazz antology, but here are relatively subdued. Nature Boy is very haunting, almost hypnotic. Most of the other songs were composed for the session. This cd grows on you after several time listening to it, but it takes some effort to get into it.

As usual this c.d. was a masterful work. Fun and yet thought provocing while driving. A good c.d. to unwind to after a long day! Howard University consistantly turned out fabulous, entriguing musicians when I attended in the late seventies and early eighties. These guys are still funking and grooving, reminding us that sometimes...a little older "is" better! Great going Greg!

Der Sound dieser Einspielung ist großartig, das gesamte Album hat eine in sich geschlossene Atmosphäre, ein übergeordnetes Konzept. Die Musik geht in Richtung Free, trotzdem harmonieren die einzelnen Musiker miteinander, das Tempo der Einspielung ist eher balladesk. Mit Jim Hall an der Gitarre konnte für diese exzellente Einspielung eine Legende des modernen Jazz gewonnen werden. Fazit: Moderner Jazz, der voller Atmosphäre ist und mitreißend eingespielt ist.