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
![Tales [Live in Copenhagen, 1964]](http://prodimage.images-bn.com/mimages/0000000000000_p0_v0_s192x300.jpg "Tales [Live in Copenhagen, 1964]")
