Take Five — Greg Osby
Did you ever wonder what your favorite musicians are listening to, or the recordings that influenced them? “Take Five” is a look at the music that inspires and excites them. It’s difficult to choose ONLY five recordings!
Alto saxophonist Greg Osby has been adventurous from the beginning. Never one to pigeonhole himself to any genre of music, his first recording, Greg Osby and Sound Theater to his ten-years with Blue Note Records. The St. Louis, MO native is a founding member of the acclaimed “M-Base” collective. He followed a marked different path than his “Young Lion” contemporaries, creating everything from avant-garde and hip-hop to funk.
Osby performed with Jaki Byard, Dizzy Gillespie, Andrew Hill and was a member of Jack DeJohnette’s Special Edition, his M-Base…Geri Allen, Steve Coleman, Cassandra Wilson, and Gary Thomas. He also mentored and featured pianist Jason Moran on several recordings. Never one to confine himself to any genre, Osby also toured with the Grateful Dead and the late Grateful Dead bassist Phil Lesh.
Charles Mingus - Mingus Ah Um (Columbia
One of my all-time favorite compositions is "Self Portrait in Three Colors," which functioned as my sign-off song during my years in college. Its pacing and construction were very significant to me, and I faithfully played it practically every night as if it was a lullaby before I fell asleep. Mingus' creative usage of layering, harmonic compounding and dissonance influenced my early attempts at composition, and the effects of my exposure to him and his works still ring true to this day. “Open Letter to Duke” is a masterclass in composition and thematic development.
Duke Ellington – Indigos (Columbia)
The idea that Ellington wrote customized compositions and parts for specific members of his ensemble was very appealing to me as a young composer. He focused on the strengths of each soloist and wrote complete arrangements around them that would emphasize and highlight their singular roles and voices. This, as opposed to writing pieces without purpose, was of particular interest to me, and throughout my career, I have followed suit by seeking collaborators who may offer a bit of the unusual or who have crafted alternative methods of expression. It is equally challenging as it is gratifying to write for such players, particularly when their personalities take the music in an unanticipated direction.
Dizzy Gillespie/Sonny Rollins/Sonny Stitt - Sonny Side Up (Verve)
A classic "battle" recording, particularly the piece "The Eternal Triangle," showed me the effectiveness of developing a style, along with distinctive and identifiable characteristics - both sonically and conceptually. The contrast between Rolllins and Stitt, as they engage in a musical joust, is what makes this union great. The detail that they each possess and play with is no less than absolutely incredible.
Cannonball Adderley – Phenix (Fantasy)
This was the first Cannonball recording that I ever heard and was unfortunately his last (recording). What struck me the most was the freedom that he played with throughout, as well as his feel - which at times was quite raw and earthy by this point in his evolution. His approach had evolved considerably from his earlier period.
Weather Report - Tail Spinnin’ (Columbia)
The track, “Freezing Fire,” and particularly Wayne Shorter’s masterful soprano saxophone solo introduced me to the world of sonic nuances, and melodic interpretation through well-defined articulation. His attacks and unorthodox phrases convinced me that self-identification is entirely possible via a solid concept of approach and attention to detail- as opposed to simply mimicking key players of the past.
BONUS OFFERING: Ben Webster - EVERY BALLAD THAT HE EVER PLAYED OR RECORDED!!!
Website: Greg Osby
Selected Discography: Greg Osby/Discography
Stay connected to KUVO’s programs and our community! Sign up for the Oasis E-News today!
