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It’s always been a sign of respect and acceptance in the jazz world when the “old pros” partake in a session with the new kid on the block. The fact that legendary veterans Jim Hall (guitar) and Andrew Hill (piano) were enthusiastic participants on Greg Osby’s new CD speaks volumes for this “newcomers” talent. Both men wrote a selection for the album; with Hall contributing the melancholy, classically influenced Sanctus and Hill penning the adventurous Ashes. Overall, The Invisible Hand finds the alto saxophonist playing in a more reflective, controlled manner than he has in the past. This is not to say that Osby has completely lost his hip-hoppy edge. Osby applies a modernist touch to the standards Jitterbug Waltz, Indiana and Nature Boy, tugging and stretching their familiar melodies. In addition to Hall and Hill, bandmates Gary Thomas (flute, tenor saxophone on With Son), Scott Colley (bass) and Terri Lyne Carrington (drums) provide exemplary support. Osby’s finest, most mature album to date. ####
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.