{"id":184,"date":"2003-07-22T20:11:18","date_gmt":"2003-07-22T19:11:18","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/greg-osby-st-louis-shoes\/"},"modified":"2023-12-18T08:50:12","modified_gmt":"2023-12-18T07:50:12","slug":"greg-osby-st-louis-shoes","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/greg-osby-st-louis-shoes\/","title":{"rendered":"Greg Osby: St. Louis Shoes"},"content":{"rendered":"<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"183\" data-permalink=\"https:\/\/www.kritische-masse.de\/logbuch\/wittgenstein-noch-einmal\/attachment-greg-osby\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030722-masse-cd-osby.jpg?fit=145%2C153&amp;ssl=1\" data-orig-size=\"145,153\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Greg Osby\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030722-masse-cd-osby.jpg?fit=145%2C153&amp;ssl=1\" class=\" alignright size-full wp-image-183\" align=\"right\" alt=\"Greg Osby\" src=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030722-masse-cd-osby.jpg?resize=145%2C153&#038;ssl=1\" width=\"145\" height=\"153\" \/>Ein Jazz-Quintett um den Saxophonisten Greg Osby macht einen Ausflug in die gute alte Zeit und zieht sich gewisserma&szlig;en alte Schuhe an. Mit dem ersten St&uuml;ck &bdquo;East St. Louis Toodle-oo&ldquo; ist man sofort dort. Da saftelt die Musik geradezu in traditionellen Harmonieshemata eines Trauermarsches und dr&uuml;ber setzt sich dann, kaum dass man es bemerkt, eine dazu etwas schiefe Soloinstanz. Dieses St&uuml;ck hat es in wirklich sich: auf einem Trompetensolo (Nicholas Payton) folgt gleich ein furioses gestrichenes Ba&szlig;solo von Robert Hurst. Danach setzt Payton ein zweites Mal an, auf dem Fl&uuml;gelhorn, perfekt in seiner gewollten Unbeholfenheit und seinen Ansatzproblemen.<br \/>\n<!--more--><\/p>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"183\" data-permalink=\"https:\/\/www.kritische-masse.de\/logbuch\/wittgenstein-noch-einmal\/attachment-greg-osby\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030722-masse-cd-osby.jpg?fit=145%2C153&amp;ssl=1\" data-orig-size=\"145,153\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Greg Osby\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030722-masse-cd-osby.jpg?fit=145%2C153&amp;ssl=1\" class=\" alignright size-full wp-image-183\" align=\"right\" alt=\"Greg Osby\" src=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030722-masse-cd-osby.jpg?resize=145%2C153&#038;ssl=1\" width=\"145\" height=\"153\" \/>Ein Jazz-Quintett um den Saxophonisten Greg Osby macht einen Ausflug in die gute alte Zeit und zieht sich gewisserma&szlig;en alte Schuhe an. Mit dem ersten St&uuml;ck &bdquo;East St. Louis Toodle-oo&ldquo; ist man sofort dort. Da saftelt die Musik geradezu in traditionellen Harmonieshemata eines Trauermarsches und dr&uuml;ber setzt sich dann, kaum dass man es bemerkt, eine dazu etwas schiefe Soloinstanz. Dieses St&uuml;ck hat es in wirklich sich: auf einem Trompetensolo (Nicholas Payton) folgt gleich ein furioses gestrichenes Ba&szlig;solo von Robert Hurst. Danach setzt Payton ein zweites Mal an, auf dem Fl&uuml;gelhorn, perfekt in seiner gewollten Unbeholfenheit und seinen Ansatzproblemen. Das Schema wird nie so ganz verlassen, aber die Ungenauigkeiten h&auml;ufen sich, ehe in einem Zickzackdoppelunisonosolo der beiden Bl&auml;ser das St&uuml;ck irgendwie genau in der Nirgendzeit einnordet wird. Die Schuhe aus St. Louis sind nicht abgelatscht. Nicht jedes St&uuml;ck der CD wirkt allerdings so gl&uuml;cklich in Realisation und Konstruktion. <i><br \/><\/i><\/p>\n<p>&nbsp;<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Greg%20Osby%3A%20St.%20Louis%20Shoes https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Fgreg-osby-st-louis-shoes%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop stop-color=\"#6364FF\"\/><stop offset=\"1\" stop-color=\"#563ACC\"\/><\/linearGradient><\/defs><\/svg><\/span><span class=\"shariff-text\" style=\"color:#6364FF\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button bluesky shariff-nocustomcolor\" style=\"background-color:#84c4ff\"><a href=\"https:\/\/bsky.app\/intent\/compose?text=Greg%20Osby%3A%20St.%20Louis%20Shoes https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Fgreg-osby-st-louis-shoes%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Mit dem ersten St&uuml;ck &bdquo;East St. Louis Toodle-oo&ldquo; ist man sofort dort. Da saftelt die Musik geradezu in traditionellen Harmonieshemata eines Trauermarsches und dr&uuml;ber setzt sich dann, kaum dass man es bemerkt, eine [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Greg%20Osby%3A%20St.%20Louis%20Shoes https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Fgreg-osby-st-louis-shoes%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop stop-color=\"#6364FF\"\/><stop offset=\"1\" stop-color=\"#563ACC\"\/><\/linearGradient><\/defs><\/svg><\/span><span class=\"shariff-text\" style=\"color:#6364FF\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button bluesky shariff-nocustomcolor\" style=\"background-color:#84c4ff\"><a href=\"https:\/\/bsky.app\/intent\/compose?text=Greg%20Osby%3A%20St.%20Louis%20Shoes https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2Fgreg-osby-st-louis-shoes%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#0085ff; color:#0085ff\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#0085ff\"><svg width=\"20\" height=\"20\" version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\"><path class=\"st0\" 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alt='' src='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=96&#038;d=blank&#038;r=g' srcset='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=192&#038;d=blank&#038;r=g 2x' class='avatar avatar-96 photo' height='96' width='96' loading='lazy' decoding='async'\/>"],"featured_video":null,"jetpack-related-posts":[{"id":1559,"url":"https:\/\/www.kritische-masse.de\/logbuch\/eingekochte-improvisation-keith-jarrett-radiance\/","url_meta":{"origin":184,"position":0},"title":"Eingekochte Improvisation: Keith Jarrett: Radiance","author":"huflaikhan","date":"21. Dezember 2005","format":false,"excerpt":"Eine Musikt\u00fcr geht auf, ganz sachte, ganz vorsichtig. Die Kl\u00e4nge eines Klaviers ziehen an einem vorbei. Man stellt sich in den Strom der T\u00f6ne, l\u00e4sst sich mitgehen, eine Reise in aller musikalischen Konsequenz und dennoch unbestimmt. Wer will kann so eine Fahrkarte l\u00f6sen, kann sich in den Klangraum der Solo-Musik\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":561,"url":"https:\/\/www.kritische-masse.de\/logbuch\/red-garland-red-alone\/","url_meta":{"origin":184,"position":1},"title":"Red Garland: Red Alone","author":"huflaikhan","date":"17. Juli 2004","format":false,"excerpt":"Jetzt wiedererschienen, eine Aufnahme vom 2. April 1960 in New York, genauer in dem legend\u00e4ren Studio Rob van Gelders: Red Alone. Der Pianist Red Garland allein am Klavier mit acht Balladen. Von \u201cWhen your lover has gone\u201d bis \u201cWhen I fall in love\u201d. Jetzt wiedererschienen, eine Aufnahme vom 2. April\u2026","rel":"","context":"In \"Jazz\"","block_context":{"text":"Jazz","link":"https:\/\/www.kritische-masse.de\/logbuch\/tag\/jazz\/"},"img":{"alt_text":"Red Garland - Red Alone","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/07\/20040717-cd-garland.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":680,"url":"https:\/\/www.kritische-masse.de\/logbuch\/1956-dr-hufner-analysiert-lennie-tristano-turkish-mambo\/","url_meta":{"origin":184,"position":2},"title":"1956 \u2013 Dr. Hufner analysiert: Lennie Tristano, Turkish Mambo","author":"huflaikhan","date":"13. August 2004","format":false,"excerpt":"Turkish Mambo ist ein Klaviersolo. Jedoch macht Tristano sich einige technische Verfahren zunutze. Der Hintergrundpart d\u00fcrfte aus drei Schichten bestehen, drei ostinaten (sich wiederholenden Pianophrasen), die nacheinander \u00fcbereinander gelegt werden. Ein alter Freund w\u00fcrde das mit \"Wir bauen eine Stadt\u201d bezeichnen. Danach (nach \u00fcber einer Minute) setzt das eigentliche Pianosolo\u2026","rel":"","context":"In &quot;die Urteilskraft&quot;","block_context":{"text":"die Urteilskraft","link":"https:\/\/www.kritische-masse.de\/logbuch\/thema\/angriffauf\/dieurteilskraft\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2657,"url":"https:\/\/www.kritische-masse.de\/logbuch\/musikvermittlung-ii\/","url_meta":{"origin":184,"position":3},"title":"Musikvermittlung II","author":"huflaikhan","date":"4. Juli 2012","format":false,"excerpt":"Jetzt habe ich doch wirklich lange \u00fcberlegen m\u00fcssen, was mich heute fr\u00fch bei meiner Sitzung besch\u00e4ftigt hatte. Die Reaktionen auf den ersten Artikel zur Musikvermittlung von Waldo de los Rios und die Frage, wie wird denn eigentlich Popmusik vermittelt und an wen? Und dabei fiel mir auf, dass es das\u2026","rel":"","context":"In &quot;Angriff auf \u2026&quot;","block_context":{"text":"Angriff auf \u2026","link":"https:\/\/www.kritische-masse.de\/logbuch\/thema\/angriffauf\/"},"img":{"alt_text":"Im Schlot der Vermittlung. 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September 2003","format":false,"excerpt":"Eine Doppel-CD von 1997. Iva Bittova geh\u00f6rt zu den ganz \u00fcberragenden Musikern aus Tschechien. Ob als Sologeigerin mit ihrem ganzen K\u00f6rper und ihrer Stimme, ob in alten Aufnahmen mit der Gruppe \"Dunaj\u201d. Sie l\u00e4sst die Musik changieren zwischen Tradition, Jazz und Pop. Mit dieser CD musiziert sie im kammermusikalischen Rahmen.\u2026","rel":"","context":"In &quot;Rezension&quot;","block_context":{"text":"Rezension","link":"https:\/\/www.kritische-masse.de\/logbuch\/thema\/texte\/rezension\/"},"img":{"alt_text":"Bile inferno","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/09\/20030731-masse-cd-bittova.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":665,"url":"https:\/\/www.kritische-masse.de\/logbuch\/albert-ayler-die-einseitige-platte-von-1965\/","url_meta":{"origin":184,"position":5},"title":"Albert Ayler: die einseitige Platte von 1965","author":"huflaikhan","date":"8. August 2004","format":false,"excerpt":"1. Mai 1965, New York - Town Hall, Albert Ayler und ein paar Freunde machen eine Platte, etwas weniger als 21 Minuten lang: Bells. Mit von der Partie sein Bruder Don (tp), Charles Taylor (sax), Lewis Worrell (b) und Sonny Murray (dm). Eine teilweise chaotische Musik, die sich gelegentlich militaristisch-hymnisch\u2026","rel":"","context":"In &quot;Programmhefte&quot;","block_context":{"text":"Programmhefte","link":"https:\/\/www.kritische-masse.de\/logbuch\/thema\/texte\/programmhefte\/"},"img":{"alt_text":"Bells - Aufkleber","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/08\/20040808-bells-a-detail.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030722-masse-cd-osby.jpg?fit=145%2C153&ssl=1","_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/184","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=184"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/184\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media\/183"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=184"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=184"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=184"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}