{"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\/2003\/07\/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\/2005\/01\/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\/2005\/01\/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 shariff-align-left shariff-widget-align-left\"><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%2F2003%2F07%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 facebook shariff-nocustomcolor\" style=\"background-color:#4273c8\"><a href=\"https:\/\/www.facebook.com\/sharer\/sharer.php?u=https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F07%2Fgreg-osby-st-louis-shoes%2F\" title=\"Bei Facebook teilen\" aria-label=\"Bei Facebook teilen\" role=\"button\" rel=\"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 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