Jimmy Greene - Saxophonist, Recording Artist, Educator

Review of Mission Statement
Night Life Exchange
By:George Carroll

The erudite yet singular sax sound of a jazzman on a mission!! A mission indeed, & Jimmy Greene has composed a spate of originals that we will have to reckon with as the jazz idiom unfolds now and in years to come.

Greene delivers his jazz in an educated, intellectual, and in certainly a literate and learned style. Jimmy's talents are realized in a passionate, albeit a contemporary style.............sometimes tender...............never brutal.................exuding a extraordinarily caressing tone...............handling both his melody and harmony as if to savour and consume. What a gift!! Greene's music is functional and might I suggest that Jimmy's music ''is for the people.'' Jimmy's phrasing and melodic articulation plus his viable pliant timbre makes us his listeners aware not of the sax's limitations in the jazz, (if there are any).....but rather its real communicative strength.

Review of Mission Statement
Something Else!
April 2009
By: Pico

Late last year I covered a new release by David Weiss' New Jazz Composers Octet, The Turning Gate. The names found in this band aren't household names, but the high level of musicianship and composition writing savvy by every member of this collective nevertheless makes this a real jazz supergroup.

Well, today comes a new release by a member of the NJCO, the young tenor and soprano sax sensation Jimmy Greene. Called Mission Statement, I'm again reminded of his talents both as a player and composer.

...it's advanced bop, but not so much advanced you lose track of where the melody is headed.

While still in high school, Greene had the good fortune of learning first hand from one of the all time greats, Jackie McLean, and Greene adapted much of McLean's advanced alto technique to the tenor. Of course, there's some Sonny Rollins and John Coltrane to be found in his sound, too, but the end result is a style that's mainstream bop, albeit in his own way.

Greene can compose some rather urbane, well-conceived jazz compositions, too. Its a talent that's garnered him many awards and distinctions over the years. Like his playing style, it's advanced bop, but not so much advanced you lose track of where the melody is headed.

For Mission Statement, Greene was able to assemble a stellar crew to back him up. He brought in a very promising young guitarist by the name of Lage Lund, the 2005 Thelonius Monk international competition winner. His rhythm section consists of the same rhythm section Charles Lloyd used for his outstanding record from last year, Rabo de Nube: Reuben Rogers on acoustic bass and the very prolific Eric Harland on drums. And finally, Reeves selected fellow NJCO compadre Xavier Davis on piano.

Curiously, while half of The Turning Gate's compositions were Davis's, Greene contributed none. On this affair, however, Greene has written all but one of the ten songs, the exception being Harry Smith's "Give Thanks," which was nevertheless given a new arrangement by Greene.

With all the right ingredients in place, there are an abundance of highlights; here are just a few:

...Harmonically complex but always arriving at the right spot, Greene and Lund weave through the changes with the facility of seasoned masters.

The opener, "Mission Statement," kicks off the album the right way: a tour-de-force of the spirited side of Greene. Harmonically complex but always arriving at the right spot, Greene and Lund weave through the changes with the facility of seasoned masters. On "Trials," Davis' places his notes off the beat, creating a real funky current. Greene shows astonishing control in hitting the high notes, as Harland is powering the knotty rhythm with the skill of a Jack DeJohnette.

"Revelation" benefits from a guest appearance from vibe phenom Stefon Harris. On this tune, Greene switches to soprano, and it proves to be the perfect complement to Harris' warm tones and challenging note runs.

The beautifully blue-shaded "In Nelba's Eyes" is perhaps the strongest track of this set. It's a delicate, slightly lugubriously lyrical number, and Greene's tenor is oozing with romanticism. For "Ana Grace," Davis supplements his piano with a Rhodes, after an extended, passionate soprano solo by Greene. The song retains its acoustic, straight-ahead flavor, however, and Davis's perfunctory but fluid solo is on the piano.

The album is named Mission Statement because as Jimmy Greene relates in the liner notes, it "represents my story, as it can be told today. The music is, if nothing else, extremely personal. It deals with the most precious things in my life: love faith, family, relationships, childhood and dreams." If that's the case, then it can be said that Greene leads a fulfilling, rich life.

Review of Mission Statement
Sound Stage
By: Bob Strain

Mission Statement is 34-year-old Jimmy Greene’s seventh offering as leader. That in itself is remarkable, but Greene -- a former student of Jackie McLean and collaborator with such luminaries as Horace Silver, Tom Harrell, Avishai Cohen, and Freddie Hubbard -- also displays formidable performing and composing skills, resulting in a CD of rare quality.

Each of the musicians is offered ample space to solo, and the mix adjusts seamlessly to each instrument in turn.

As with 2006’s True Life Stories, Greene is joined here by Xavier Davis on keyboards, Reuben Rogers on bass, and Eric Harland on drums, excellent musicians who have worked with him since 2002, and by Lage Lund on guitar. Stefon Harris guests on vibraphone on one cut, "Revelation."

Except for the final track, Greene composed all the music on this CD. It is urbane, sophisticated, and complex, constructed around spiky melodies and edgy post-bop harmonies. Despite this, it is quite accessible. The rhythmic flow is subtle and understated, and the musicians as a unit treat the material contrapuntally, with interlocking phrases that bring Afro-Cuban clave to mind. This creates a spaciousness that allows the solos and backing to emerge and recede in an organic way, from the driving title-tune opener to the dreamscape "Love in Action."

Throughout, Greene’s soloing is impeccable, bringing to mind such landmarks as John Coltrane’s A Love Supreme, nowhere more than in the keening "Trials." As with Coltrane, a spiritual perspective pervades Greene’s music, filling it with conviction.

Greene draws beautiful tone from both the tenor and soprano instruments. Overall, the audio quality is intimate, beautifully balanced, and present. The first sound -- a crystalline cymbal hit coupled with a rim shot --- commands the listener’s full and immediate attention and quickly segues into a beguiling intro to "Mission Statement." Each of the musicians is offered ample space to solo, and the mix adjusts seamlessly to each instrument in turn.

The concluding track is an exuberant rendering of Harry Smith’s "Give Thanks." For this CD, it’s appropriate. Thanks, Jimmy Greene. Mission accomplished.

Review of Mission Statement
Jazz Society of Oregon
By: George Fendel

At age 34, Jimmy Greene is one of the ascending players on the current scene. He has been characterized as one whose inspiration comes from the Coltrane-Rollins camp. I hear more of Rollins in his playing, and to my ear this is both a strength and an occasional red flag. Greene’s all-original program contains many high-flying moments, with occasional bursts of over-abundance. He’s a talent to be reckoned with and should not be reigned in. Call me an old fuddy duddy, but I’d sure like to hear what he sounds like on one, just one, standard.

Review of Mission Statement
About Jazz
By: Jacob Teichroew

Saxophonist Jimmy Greene’s latest release, Mission Statement (Sunnyside/Razdaz), is a diverse and colorful survey of modern jazz saxophone. The songs vary in style, at times drawing from funk, free improvisation, and cerebral odd-meter trends, but they are unified by Greene’s robust and sincere tone.

...filled with subtlety, making it worthy of repeated listening..

Featuring guitarist Lage Lund, drummer Eric Harland, pianist Xavier Davis, and bassist Reuben Rogers, Mission Statement is characterized by an uncluttered sobriety. The compositions, almost all of which are originals (except for “Give Thanks,” by Harry Smith), tend to lean into introspective territory. What else can we expect from recording that is devoted to capturing various personal elements of Greene’s life, including (according to the liner notes) “love, faith, family, relationships, childhood and dreams?” The music avoids feeling distant thanks to the outpouring nature of Greene’s solos. Even Lund, whose precision can be mistaken for coldness, sounds as if he needs to get something off his chest.

Highlights
The opening track, “Mission Statement,” with its angular guitar and saxophone unison melodies, and an obsessive chord pulsing repeatedly in the piano, smacks of jazz modernity á la Mark Turner and Kurt Rosenwinkel. It sets the tone accurately for the rest of the album, building intensely, but never going overboard.

“Fathers and Sons” is wistful and rainy at first. Lund’s solo is melancholic, although bristling with a mysterious quality that constantly sounds on the verge of eruption. When Greene takes over, the tone shifts to an effusive plea. His solo’s verbal quality is a result of his stringing together of ideas, spinning overarching phrases out of melodic threads.

“Mr. Octopus” begins as creepily as the title implies. A rumbling solo saxophone melody is quickly taken over by an ominous response in the rhythm section, bringing to mind a cartoon-like chase. Greene’s solo, which strays from harmonic boundaries, and reminiscent of mad babbling, is punctuated by sharp bursts in the piano. Harland flutters about the drums, creating an aura of disarray and dishevelment.

The music on Mission Statement is simple yet filled with subtlety, making it worthy of repeated listening.

Review of Mission Statement
June 2009
Jazz Police
By: Mario Carrington

Mission Statement features tenor saxophonist Jimmy Greene along his working band of Xavier Davis on keyboards, Reuben Rogers on bass and Eric Harland on drums. They have performed together for seven years and their musical conversations are superb and seemingly effortless, though we know that’s not the case. (BTW, for effective discourse, is there anyone who practices the art of listening better than accomplished jazz musicians?)

The Greene Quartet is developing the simpatico you hear from super groups that have been together awhile and appear to communicate telepathically when performing. Examples of this would be the Keith Jarrett Trio, the Branford Marsalis Quartet or the Dave Holland Quintet. The musicianship on this album is as tight as those standard-bearers. Guest appearances are made by guitarist Lage Lund and vibraphonist Stefon Harris, and it all adds up to a buy recommendation for this CD.

...the simpatico you hear from super groups that have been together awhile and appear to communicate telepathically when performing.

The title track is a spirited opening where the runway is cleared for Greene and Lund to take individual flights and then engage in a brisk call-and-response exchange, soon followed by a Harland improvisation with Greene then closing things out. “Fathers And Sons” by hint of suggestion sets a deliberative mood encouraging you to reflect about what it means to be a father, son or both. Thoughtful musings first by Greene, then Lund, with soulful support from the rhythm section, enhance the vibe.

“Trials” has an extended introduction succeeded by solos from Greene, Davis and Harland which expand different elements of the initial construct. “Revelation” features Greene on soprano and Harris on vibraphone who come through with a grand piece of collaboration. The contrapuntal “Mr. Octopus” extends a star turn to each member of the quartet to shine brightly. “Ana Grace” can be summed up in one word—beautiful.

All ten compositions are originals from Greene. Those mentioned above, along with other selection highlights such as “Love In Action,” “YeahYouRight!,” and “Give Thanks,” will yield an optimal return on your album investment.

Review of Mission Statement
June 2009
Bass Musician Magazine
By: Damian Erskine

I was familiar with Jimmy Greene from my familiarity (obsession) with Avishai Cohen's music (Jimmy was a wonderful contributer to Avishai's band in the 90's. Avishai is also given credit as one of the executive producers on this recording). I have to say that this is the best Jimmy Greene I've heard yet! Not just his playing (which is masterful), but his compositions and the overall vibe of the album really draws you in. This CD is a supremely musical statement (Mission Statement, if you will... couldn't help it).

The band is just about as good as it gets...

The band is just about as good as it gets, as well... Reuben Rogers supports the band on bass with a warm and supportive upright tone and a perfect time-feel, Eric Harland on drums is always a treat to listen to, Xavier Davis on Piano & Rhodes, Lage Lund on Guitar and Stefon Harris playing Vibes on Revelation. MAN... what a band! Every time I've had this CD playing while musician friends are near, one or the other is guaranteed to ask what it is... It's got style, depth, musicality and sound that makes you want to LISTEN. Just a killin' release, Jimmy!

Review of Mission Statement
All Music
By: Ken Dryden

Jimmy Greene has stood out from the vast majority of emerging tenor saxophonists of his generation because he has sought to develop his own sound along with composing compelling music. This session with pianist Xavier Davis, guitarist Lage Lund, bassist Reuben Rogers, and drummer Eric Harland (like the leader, rising players of his generation who are much in-demand),

His big tone dominates "Mission Statement," the stimulating post-bop opener.

features nine of his potent compositions. His big tone dominates "Mission Statement," the stimulating post-bop opener. The lush "In Nelba's Love" is a warm, spacious ballad built off a repeated riff. The wild "Mr. Octopus" likely got its title from reaching in several musical directions at once, though the musicians devour Greene's demanding work whole, especially during Davis' expressive solo, while the saxophonist wraps it with a surprising twist. Vibraphonist Stefon Harris is added for the exuberant "Revelation," showcasing Greene's expressive chops on soprano sax, while Greene also plays soprano on a turbocharged setting of sacred music composer Harry Smith's "Give Thanks."

Review of Mission Statement
Jazz Weekly
By: George W. Harris

Here’s a guy who has been undeservedly unheralded over the years. Tenorist/sopranoist Greene has a CV that includes stints with Jeremy Pelt and Tom Harrell, and it’s easy to see why so many leaders like him; he’s got a great tone, has his own voice, and his solos are lacking in

...uptempos like the title track and “YeahYouRight" show the band creating lots of sparks...

clichés and coasting. This disc has the God-fearing Greene with a long time workin cast of Xavier Davis/k, Reuben Robers/b and Eric Harland/dr. It’s easy to tell they’ve been together for awhile, as their energy and communication is palpable. The uptempos like the title track and “YeahYouRight" show the band creating lots of sparks, with Harland’s drumming pushing the band like the chariot scene from Ben Hur. The real treat, however is listening to Greene’s horn on the ballads. His tenor on compositions like “Love In Action” and “In Nelba’s Eyes” is as thick and rich as mud from The Red Sea, while his soprano wafts like a dove on “Ana Grace.” In this day of Coltrane worship, it’s refreshing to hear a guy that listens to the Old Testament prophets as well. Good listening!

Review of Mission Statement
Fall 2009
Jazziz Digital Version
By: Ross Boissoneau

Review of True Life Stories
"Winning spins" from Hot House
August 2006
By: George Kanzler

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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."