Search - Greg Osby :: Invisible Hand

Subtlely Engaging

Ronald Lyles | West Hartford, CT | 05/02/2000

(4 out of 5 stars)

"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."

Atmospheric but involving

jimrosch | Hoboken, New Jersey | 03/25/2000

(4 out of 5 stars)

"This new one by Osby has more shape and focus than "Banned in New York" which was more a collection of good moments than strong versions of the tunes. Though Osby is not strongly represented as a composer, his stamp is unmistakably on the material. His alto sound and arrangements unify the proceedings. The addition of Andrew Hill here, particularly, is of note. The same atmospheric, elliptical feel one finds in Hill's own work infuses this material (two of the compositions are his). The album's best moments are the duets by Osby and Hill, "The Watcher" and "The Watcher 2". Only the mushy sounding guitar on the head of "Nature Boy" (check out either of Coltrane's versions of this tune to hear definitive versions) is a noteworthy misstep. A contemporary, legitimate jazz album which sounds interesting and up to the minute without being arduous to listen to."

Heavyweight band, delicate music

N. Dorward | Toronto, ON Canada | 09/24/2000

(5 out of 5 stars)

"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."