Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

Steve Grossman Quartet: Hold the Line

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.

This 1984 New York session finds tenor saxophonist Grossman in full voice, causing us once more to wonder how it was he got lost in the shuffle following his breakout years with Miles Davis. Roughly a decade later, he has become a more broad-based player, expanding the rich harmonic and rhythmic texture inherited from Coltrane with a sure and winning sense of melody closer in spirit to Sonny Rollins. Hear, for example, his take on Cannonball Adderley’s “Wabash,” on which he moves smoothly between lightly flowing bop and harder-edged lines that suggest different ways to take the tune-but keeps all this under rein, building steadily to a wonderful peak that introduces the piano solo from Hugh Lawson. His “Night in Tunisia,” by contrast, cuts more of a Traneish line. Grossman and Lawson are joined by Juni Booth on bass and Masahiro Yoshida on drums, both of whom turn in solid performances.