Vince DiMartino was a distinguished professor of trumpet at the University of Kentucky's Jazz Studies Program for twenty years, and saxophonist Miles Osland is its current director. Together these two educators have collaborated for many years, founding of The DiMartino/Osland Jazz Orchestra. Through its performances and recordings, it has become a fixture in the central Kentucky area. Quotient is the group's first offering since Off The Charts (Sea Breeze, 2001), and from the sounds of this one, there is indisputable evidence that the duo's formula for riveting big band music, has worked its magic once again.
There's plenty ...read more
As trash-talking goes, getting schooled by the Professor Of Saxophone" is of questionable caliber. But Miles Osland is in no danger of losing face if words fail him--he wields a horn capable of bludgeoning even the most forward-thinking rebel punk in the classroom.
Some professors put students to sleep lecturing from the book, while others bring classes to their living rooms for political discussions accompanied by authentic homemade food from the region in question. Osland, in a collection of more than 30 free songs downloadable at his Web site, is a top-tier member of the latter group with ...read more
Miles Osland, an intrepid and versatile woodwind specialist who can stay in the pocket but prefers to scramble, unveils a number of facets of his capacious personality on My Old Kentucky Home, from bebop, blues and ballads to Caribbean, Latin, funk, boogie and beyond. Actually, nothing here is as “beyond” as Osland has been on other occasions. Instead, the Little Big Band abides relatively close to home with sunny interpretations of compositions by Cannonball Adderley (“Things Are Getting Better“), Gordon Goodwin (“A Few Good Men,” “Meet Me at the Carnival”), Tom Kubis (“5 Alarm Fire,” “Blues for a Purpose”), Roger ...read more
As Miles Osland says in the liner notes, Old Speckled Hen represents his “coming out” as a tenor saxophonist (he’s usually heard on alto, at least on recordings). As is the case on alto, he prefers doing things his way, assuming a stance that often is less than conventional if not unsparingly radical. While he never completely abandons customary melodies or rhythms, Osland stretches the boundaries in ways that might leave the more conservative listener unmoved. His “English Suite,” for example, incorporates bitonal harmonies, free improvisation and straight swing in a three–part work whose opening theme is based on composer ...read more
University of Kentucky jazz professor Miles Osland's third recording as a leader combines his lyrical saxophone phrasing with the rhythm section of pianist Bill Anschell, bassist Neal Starkey, and drummer Woody Williams. Anschell and Williams are two-thirds of Nnenna Freelon's latest rhythm section. The parallel between Osland's lyricism and the well-known singer's is worth considering: both are capable of displaying lovely sounds as well as stirring up the improvisational pot whenever they feel the need. The unusual title for this recording stems from an NEA Fellowship that Osland received, which placed him in England for a period of composing, performing, ...read more