Review of True Life Stories
"Winning spins" from Hot House
August 2006
By: by George Kanzler
Two saxophonists - Jimmy Greene and Vincent Herring - who've been illustrious sidemen on the scene for over one and two decades respectively, have new albums out by working bands. Of course, "working bands" today aren't what they were thirty or forty years ago. Nowadays, a group that's able to get together a handful of times each year and score some weeklong gigs is as close to a working band as most non-A list celebrity jazz artists can get.
Herring and Greene showcase working bands that are quartets on their CDs, although both leaders also employ the same guest trumpeter, Jeremy Pelt, on some tracks. Herring's rhythm section is his "European band," the one he's worked with mostly on that continent, although the players aren't necessarily based there. It consists of Danny Grissett, piano; Essiet Essiet, bass, and Joris Dudli, drums. Greene's New York based rhythm section is Xavier Davis, piano; Reuben Rogers, bass, and Eric Harland, drums.
Ends and Means (High Note), remains true to alto saxophonist Herring's roots in hard bop and soul jazz, roots planted early when he was chosen by Nat Adderley to carry on the legacy of Julian "Cannonball" Adderley in Nat's tribute band to his late brother. The title track is firmly in that tradition, structured around a winning tension-release song form. Swiss-born, Vienna-based drummer Dudli contributes spunky, off-kilter funk rhythms to two of his originals, "Tom Tom," marked by a pronounced backbeat, and "Thoughts," with a slinky rhythm aided by unison piano and bass, and a tonally distinct combo of Harmon-muted trumpet and soprano sax (Herring's one outing on that instrument).
Grissett, whose piano solos consistently stand out, also contributes an asymmetrical arrangement of Irving Berlin's "The Song Is Ended" for the quintet, with suspended A sections and an Afro-Latin tinged bridge. A surprising standout track is a quartet version of the Beatles' "Norwegian Wood," done in the style of John Coltrane's "My Favorite Things," that surges along with stirring momentum and passionate solos from both the leader and Grissett.
If Herring's album is an affirmation of his roots, with some funky contemporary touches, Jimmy Greene's True Life Stories (Criss Cross), is a more searching, stylistically open album. Not only is tenor saxophonist Greene's repertory more varied - from pop standards to Thelonious Monk to religious music - but he employs a variety of configurations, from duo to quintet to two different quartets. There's a pliable, open quality to the rhythms too, largely a product of Harland's singular style, with its unusual, for these times, reliance on sticks on drum skins as much or more than on cymbals.
Greene has a wide command of tenor tone, and can keep it light and keening, as on his mid-tempo "Re-Affirmation," with the rhythm section; gritty and shouting on "Evidence/True Life Stories," a conflation of a Monk tune and his own melody done in a piano-less quartet; or warm and breathy on a romantic duo (with Davis) version of "My Ideal." He also has a clean, bright and tuneful soprano sax sound, displayed on both his own multi-tempo "Song for Isaiah" and the traditional hymn, "How Great Thou Art." His other foray into religious themes, the contemporary gospel number, "A Closer Walk," is given a Stevie Wonder twist made overt with Greene's "Isn't She Lovely" coda. And speaking of good pop songs, don't miss the closer, a lush, heart-beat tempo rendition of Harry Connick Jr.'s macho ballad "Take Advantage."
Trumpeter Pelt, a welcome presence on Herring's album, is even more essential in his three appearances with Greene, offering a meaty, contrasting solo to the soprano on "Isaiah" and interacting and soloing strikingly on the two pianoless quartet tracks, both definite album high water marks.
Jimmy Greene plays at Smoke on Aug. 18-19. Vincent Herring will be featured with the Cedar Walton group at Dizzy's Club Coca-Cola on Aug. 8-13 and 15-20.
Review of True Life Stories
All About Jazz
By: C. Andrew Hovan
Jimmy Greene came into many advantageous and heady situations early on in his career, and
he has really begun to find himself as an artist within the past few years. Now in his early
thirties, Greene had made a total of three previous albums as a leader, and while they
demonstrated his promise, they also hinted at something more was under the surface which
had yet to be fully documented on disc. All this is to say that True Life Stories just
might be the album we’ve been waiting for from Greene, because it most clearly
demonstrates his muse.
Greene’s writing is especially strong on True Life Stories; the melody on the
opening “Re-Affirmation” is punctuated by shifting accents and hits. He negotiates the
challenging structure with ease, then he quiets down for the start of his solo, building the
tension while telling a story. His tone is consistent throughout the range of the horn,
reaching for upper-register cries on occasion for textural variety. It’s all there in the first
eight minutes, setting the tone for the remainder of this wonderful set.
Trumpeter Jeremy Pelt steps up for “Song For Isaiah,” which also finds Greene on
soprano sax, an instrument that he plays with a great deal of fluency and creativity. Like his
other compositions, this one also gains its charm through the use of a structure that
breathes in a natural way both melodically and rhythmically, thus stepping away from the
usual 32-bar head-with-solos format. Pianist Xavier Davis, bassist Reuben Rogers and
drummer Eric Harland also help make these performances a success; they are especially
sensitive to a less overt and more suggestive form of timekeeping.
Jimmy Greene truly comes into his own on True Life Stories, arguably his best
effort yet as a leader. While his spiritual inspiration—as revealed in the liner notes and
through the inclusion of the numbers “How Great Thou Art” and “A Closer Walk”—might have
something to do with this recent growth spurt, his inherent musicality has held him in good
steed previously, and now it looks like bigger and better things are on the way.
Review of Forever
JazzReview.com " Featured Artist: Jimmy Greene" - 2004
By: C. Andrew Hovan
Review: Some time has passed since saxophonist Jimmy Green made his debut record for Criss Cross. By comparison with the recently released Forever, Greene seems to have made the most of the passage of time as his confidence has grown and his individuality has become much stronger in the intervening years. Like label mates Joel Weiskopf and Wycliffe Gordon, Greene has chosen to explore the more spiritual side of his personality and the end results are quite fine indeed. Supported by pianist Xavier Davis, bassist John Benitez, and drummer Jeff ‘Tain’ Watts, Greene states his theme up front with a funky reworking of “The Old Rugged Cross” and closes with the original “He Is Lord.”
Robust in tone and consistently strong across the full range of his instrument, Greene has full technical command of his horn. Just check out the opening dialogue with Watts on “In Many Tongues” and you’ll hear the saxophonist going through the permutations with that ardent upper register ‘cry’ that helps form the emotional foundation. On Ellington’s “Come Sunday” the familiar melody is almost undetectable as Greene strolls along accompanied simply by just bass and drums. His reworking of the pop tune “You Make Me Feel Brand New” is undeniably strong, with Watts providing a funk/bossa hybrid for the groove.
It’s obvious throughout this varied set that Greene has unfettered communication with his cohorts. They seem to breath as one, but at the same time give things a loose feel that allows the soloist to take chances without fear of falling. This is one of the strongest saxophone quartet records of the year and I wouldn’t be surprised to find it turn up on more than a few year-end top ten lists.
Review of Forever
Jazztimes "Saxophonics" - December 2004
By: David Franklin
Tenorist/sopranoist Jimmy Greene dedicated Forever (Criss Cross) to "my Lord and Savior Jesus Christ...as an offering of praise," and most of the compositions' titles can be interpreted as in some way religious ("He Is Lord," "In Many Tongues," "Power," "Come Sunday," "Old Rugged Cross," "Forever," even the Stylistics' hit "You Make Me Feel Brand New"). Still, an appreciation of this music does not require knowledge of the titles or of the performers' intent; the performances can stand on their intrinsic merits. Greene is one of the better younger post-Coltrane saxophonists, possessing a formidable technique, an expressive tone and a fertile imagination. And his colleagues-pianist Xavier Davis, bassist John Benitez and drummer Jeff "Tain" Watts-are known for top-quality work as well. Greene's arrangements often rival the improvisations in interest. "Old Rugged Cross," for example, reharmonized and speedier, features a constantly recurring bass figure, a unifying technique that appears on several tunes. Passionate improvising and appealing arrangements recommend this recording to the listener looking for fresh and honest straightahead jazz.
Review of Forever
All About Jazz - August 2005
By: Javier Antonio Quiñones Ortiz
Forever offers a choice of reasons for celebration. Its
repertoire, mostly based on music inspired by the Protestant and so-called Evangelical
versions of the Christian faith, is a
somewhat unexplored vein that contains rich melodic and evocative deposits yet to be
strip-mined. Although there certainly are examples of its
interpretation throughout the history of jazz, much remains to be done with its musical
potential. Greene's contribution in that regard is first-rate.
Perhaps the most obvious and reachable example would be the opener. Written in
1913 by George Bernard, "The Old Rugged Cross" develops into a contemporary
straightahead proposition featuring tight harmonic, rhythmic, and melodic group
interactions whose freedoms and variations can be described as "change'n the pocket."
Therein the
listener immediately meets head on with solos from Greene on tenor sax, Xavier Davis on
piano, and Jeff "Tain" Watts on drums. Although bassist John Benitez's turn in the spotlight
would have to wait until the cool-headed stroll of Duke Ellington's "Come Sunday" and the
contagious swing of "Power," one is immediately impressed by this quartet's muscle, flair,
and sensibility.
Greene's facility with his instruments, both
obvious and remarkable, is also a celebratory event. One can talk about the tenor sax
glossolalia-like head exchange with Watts on "In Many Tongues"; the
eminently sensitive, loving, and engaging anthemic soprano meditations of "He is Lord";
the title cut, featuring pianistic wonderment from Davis; the mid- to low-toned tonguing
of "You Make Me Feel Brand New," as well as its higher reaches; or the classical tone and
attack of "Power."
Further celebration stems from Greene's writing, overall musical concept, and
leadership. He assails accessibility, rhythm, and melody with unfathomable harmonic
strength, of which "NMG" is quite an instance. Unafraid of the musical prowess of their
companions, these musicians cull their respective individuality within statements that dare
the power of superbly supported melody.
Review of Forever
4 stars ****
Jazzwise Magazine (UK) May 2004
By: Tony Hall
A Jackie McLean pupil, who is highly praised by his teacher, but whose style is totally different, Greene first caught our attention as
a sideman on a not particularly brilliant Horace Silver record. His first date as a leader was on Criss Cross in 1997, then BMG signed
him. Their album, Brand New World was excellent, but they abruptly dumped him! Now he's back with Gerry Teekens (for whom he'd recorded
some great sets with Ralph Peterson's Quintet, now sadly disbanded) and Forever is a fine album. The mood throughout is serene and
spiritual, even at uptempos, and there is quite remarkable cohesion between Greene and his outstanding rhythm section. [Xavier] Davis
(a colleaugue in Tom Harrell's Quintet and a founder member of The New Jazz Composers Octet) is, like Greene, an exceptionally
sensitive soloist, who uses space so effectively, while [John] Benitez on bass in solo or section is a revelation. As for Tain, he
plays with unusual restraint, but still keeps the pot boiling at all tempos. 'Power," in particular, is a real burner.
Greene is without doubt one of the most striking young tenors of recent years and some of his best work here is on a piano-less version
of Ellington's 'Come Sunday.' The leader contributes five originals ('Forever' is a moving soprano feature) and there's a version of
Thom Bell's 'You Make Me Feel Brand New' which really starts to take off halfway through Davis' soulful piano solo. A peaceful, but
powerful, record and thoroughly enjoyable.
Review of Forever
allmusicguide.com
By: Al Campbell
Forever marks the second release on the Criss Cross label by tenor saxophonist Jimmy Greene. These eight tracks embrace both
traditional and fresh arrangements guided by a spiritual nature. The interpretations of "Old Rugged Cross" and Duke Ellington's "Come
Sunday" are compelling, as is "You Make Me Feel Brand New," originally recorded by the Stylistics and not necessarily thought of as a
spiritual, but in this context the song fits perfectly. Of the five Greene originals, "In Many Tongues" and "Power" are standouts given
the overtly celebratory concept and execution backed by a powerful rhythm section of Xavier Davis on piano,John Ben'tez on bass, and
Jeff "Tain" Watts on drums,Greene and his cohorts' reverence is obvious but thankfully not overbearing; they never forget that this is
a jazz date and supposed to swing.Ê
Review of TomHarrell Live at the Village Vanguard (RCA Bluebird)
JazzTimes Magazine
July/August 2002
By: Doug Ramsey
"Greene is increasingly impressive in his construction of melodic lines that have the intimate quality of good speech..."
--Tom Harrell
"Jimmy is phenomenal. He has a really creative imagination and beautiful feeling. His tone is big and warm and beautiful. It's a pleasure working with him."
--The New Yorker, September 1, 2003
"Greene, a no - nonsense neo - bop tenor saxophonist whose conviction helps him stand out in the crowd"
--Ben Ratliff, The New York Times, August 29, 2003
"Mr. Greene is a strong young tenor saxophonist... he'll have a lot to offer in the long run."
--Jim Macnie, The Village Voice (NYC), August 29, 2003
"Jimmy Greene . . . . the tenor player is good for a couple of body chills every time you see him. He's got a big barrelhouse sound, and a way of negotiating changes that makes academic moves seem natural."
--Gary Giddins, The Village Voice (NYC), May 30, 2003
"[Jimmy Greene is] a talented saxophonist who has been a member of Tom Harrell's band for several years . . . . he has a big tone and lithe style, and is one of those players who came along in the '90's who constantly seems on the verge of a breakthrough."
--Britt Robson, City Pages Minneapolis,MN, May 14, 2002
Review of Tom Harrell Quintet at Dakota's in St. Paul, MN
"The highlight of the set came right away, on "Daybreak," rendered with breakneck speed and robust tonality. Tenor saxophonist Jimmy Greene, like Harrell a Horace Silver alumnus, kicked off the solos in torrid fashion, melding a fat sound with phrases that were by turns darting, angular and serpentine, a bravura style reminiscent of Dexter Gordon."
--Don Heckman, Los Angeles Times, June 21, 2002
Review of the Tom Harrell Quintet at the Jazz Bakery, Los Angeles, CA
". . .Greene's big, brash saxophone sound provided the perfect extroverted counter for Harrell's inner searching."
--John Nemo, St. Paul (MN) Pioneer Press, May 14, 2002
Review of Tom Harrell Quintet At Dakota's in St. Paul, MN
"Then there's Jimmy Greene on sax, taking his spiraling solos when called on, then matching [Tom] Harrell note-for-note when asked to help supply the melodies."
--Jack Massarik, Evening Standard, London, England, March 2002
Review of Ralph Peterson Quintet At Ronnie Scott's in London
"Jimmy Greene, a towering young tenorist of abundant talent, keeps his head down and weathers the storm in neo-Coltrane style..."
--George Kanzler, Newark Star-Ledger, April 14, 2001
Review of "Miles Again" tribute to Miles Davis by the Carnegie Hall Jazz Band, John Harms Center for the Arts, Englewood, NJ
"Saxophonists Greene and [Vincent] Herring found solo stances within the mood of the pieces, referencing but hardly aping the original solos of John Coltrane and Julian "Cannonball" Adderley. Greene was especially graceful..."
--Bob Blumenthal Boston Globe March 24, 2000
Review of the Kenny Barron Quintet at the Regattabar, Cambridge, MA
"Greene in contrast wove discrete, agitated phrases into a statement of surprising continuity, relying heavily on John Coltrane's late-quartet vocabulary and the inspiration to be drawn from the rhythm section's turbulent commentary. . . . Greene sliced against their ominous groove, tearing off anguished harmonics at one point."
--Willard Jenkins, JazzTimes Magazine, March 2000
Review of Brand New World
"Now comes Brand New World, Jimmy Greene's fresh entrée on the RCA Victor label. Sparkling in its promise, subtle in its gifts, Brand New World delivers a tasty platter.."
--Cliff Bellamy, Durham (NC) Herald Sun, January 14, 2000
Review of Brand New World
"[Greene's] solo on "Mr. McLean" is a work of fire and passion, but at other times, such as on the ballad "Never Let Me Go," Greene can "sing" with great expression and lyricism."