The Greyboy Allstars falls “Popmatters”

Greyboy Allstars of the ACID Jazz Buzz in the 1990s to a real institution of the western coast of Vanik, the soul, the pugalu, and the Jazzi jam in the twenty -first century. Saxman Karl Denson continues to lead the dynamic quintex with the release of his eighth album in November 2024. They are known for their lively live performances that never fail to ignite the dance circuit, however Grab a bag: 2007-23 It is a vibrant collection of not previously released tunes that show the skills of the crazy group.

“It is logical to return to our archive and put out some of our preferences from the past few years,” Key player Robert Walter explains in a press release. “Many of these songs are on Grab a bag It is more experimental and represented by the edges of what we usually do in stylistic. I think it shows our collection in a wonderful way. “

“We are always trying to move outside the basic parameters to build the first jazz that we did on the group when we started for the first time in 30 years,” added ELGIN Park.

When it was first in San Diego in the early 1990s, Greyboy Allstars was under radar stars in their local scene. But time and change have revealed world -class musicians who have become more popular. Denson sat with the list of Whin’s Who’s to the Robiculational Music World and toured Rolling Stones since 2014.

Walter lends his narcotic skills in the Roger Waters band from Pink Floyd and Bishm Mike Gordon. Park (also known as Michael Andrews) was disturbed by another, and the Hollywood soundtrack ranged from classic worship. Doni Darko to Women and obsessive. Meanwhile, the elite rhythm section of the guitarist Chris Stelwell and the drama player Aaron Redfield are players in the session in the request with credits, including Sia, Elton John, Celeo and Charli Xcx.

It opens “fist slight” Grab a bag: 2007-23 With a groove you are a relaxed, put an attractive fiber. Park uses a clean single single fetal tone that gives way to some delicious electric piano before Denson returns with some Jazzi jam on lashes. “Watch out for a generation” pick up a pace with great anti -soils under Sachs Denson. Park puts a group of unconventional guitar, Walter adds some elegant jamming of the organs, and Stelwell throws a bass line on a bass line on one of the songs of the infectious album tightly.

“Speed ​​Freak” follows in a growing voice, as Walter and Denson are weaved on a clear rhythm and hot groove. Denson Flowing Sax is similar to the power of nature, while the guitar lines in Park appear to be a police presentation in the seventies of the last century. “Boxes” begins to put jazz in the old school with Walter on Piano and Denson playing the smooth Sachs before Stillwele pushed the groove forward with some walking shhir. This places Denson to go to more bebop, which leads to the exploration jam that Sax moves with deepening the groove. The Baton returns to Walter for some jazzy piano, a great grumbling like MCCOY Tyner and Herbie Hancock before Denson allows it to extend towards the finish line for the longest album path in seven and a half minutes.

“San Diego” may be the most attractive tone, with a sharp, unconventional groove that paves the way for some thin flute from Denson. The narrow rhythm and loose groove generate the unique Greyboy Allstars in honor of their hometown, one of the best cities of America, undoubtedly, with the best weather in America and the feelings of the Pacific Beach. Solo duties are the next level, as the violent piano centered from the Walter and the other flute from Denson, which evokes the anesthetic visions of one and Ron Burgundy only.

“Lil” mixes things with an audio melody on the optimistic reactionary lounge, which is the mid -rhythm number with some of the most elegant flute from Denson. “Suadela” is well married as a course in the atmosphere that includes a soft sax, triple switches, and warm dress about what appears to be a drug late at night.

The Michael Jackson Cover “The Way You Make Me Mees” finds that Greyboy Allstars places a seal of jazz on the song, where Walter leads the band in a wonderful direction. Park, StillWell and Redfield placed on an unconventional clinic, where they created Walter and Denson to sort the single hot players that adhere to the pocket. Park kicks a little more than it alone, as the Bass Bass line appeared more clear. It is the jewel of a path where Quintet’s collective voice appears to rise above the parts thanks to the apparently advanced chemistry.

“Pixie Stick” wraps the collection with what looks like a cheerful holiday while Denson’s SAX floats on a comfortable Walter member before switching to the ethereal flute and then returning to Sax again. There is a comfortable fiby as if the band says good night after a hot show.

QUINTET heated another heater when they fill the independent in San Francisco on the weekend to release the album for a sale on November 23. “Watch out Gail” was highlighted in the first group, where Park and Stillwell even switched to the tools and did not lose the star jam. The “Speed ​​Freak” was the moment in the second group to make the audience continuous, as the new materials in the reference mixed very well to treat another Saturday night of Greyboy Allstars.