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Jazz - Released January 28, 2013 | Dreyfus Jazz

In this final recording with pianist Michel Petrucciani, saxophonist Grossman's usually more extroverted tendencies are willingly sublimated in order to play more romantically inclined mainstream jazz. Many of the tunes are ballads, embellished by Petrucciani's languid or forceful pianistics, while solid bassist Andy McKee and drummer Joe Farnsworth keep the flickering flame alive with their steadying rhythms. Of course the fire has to be stoked on occasion, and Grossman really digs in on the Sonny Rollins evergreen "Why Dont I?" It's perfectly played, a flawless uptempo swinger with head nodding, bluesy elements. Contrasting easy swing with double timed tenor on "Don't Blame Me" shows Grossman as riled up as he gets on this date. There's a samba take of "You Go To My Head" with Petrucciani's solo sporting 16th note flurries, and a moody, pensive waltz version of McKee's "Inner Circle" similar to "You Go To My Head." Two tunes go from ballad to swing and back, Grossman's "Song For My Mother" with the pianist quite animated in the bridge, and Petrucciani's "Parisian Welcome" brought in exclusively for this session, with Grossman the torch burner. The others are straight ballads including classic takes of "Body & Soul" and "Theme For Ernie," the lugubrious interpretation with a highly restrained Petrucciani on "Ebb Tide," and the sax-piano only rendition of "In A Sentimental Mood" as the CD's closer. Fans of Grossman should not wince at this apparent taming of the shrew. In fact, Grossman's pungent tone, never smeary or over pronounced, retains its rich, expressive listenability and tunefulness. It's a beautifully understated recording that is easily recommended, especially for those just discovering veteran Grossman. © Michael G. Nastos /TiVo
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Jazz - Released March 8, 2010 | Dreyfus Jazz

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Jazz - Released November 14, 1994 | Dreyfus Jazz

This outing is one of tenor-saxophonist Steve Grossman's finest recordings to date. He has mixed together the almost equal influences of John Coltrane and Sonny Rollins to achieve his own style and sound. The program is quite strong with its superior yet generally underplayed standards joined by two of the leader's originals, Elvin Jones's "E.J.'s Blues" and Freddie Redd's "Time to Smile"; also the lineup of musicians would be difficult to top. Pianist Willie Pickens shows a lot of versatility on the hard bop-oriented music, trumpeter Tom Harrell (who is on around half of the tracks) is as fiery and alert as usual, bassist Cecil McBee has a strong musical personality that comes across even when restricted to accompanying the soloists, and drummer Elvin Jones remains in prime form. The main focus however is mostly on Grossman and he continues to grow as an improviser year-by-year. Highly recommended. © Scott Yanow /TiVo
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Jazz - Released January 1, 1991 | Dreyfus Jazz

4 Stars - Very Good - "...Grossman still expends considerable energy in an adventurous, questing 1960s mode of expression...crackles with activity...extracts warmth....Harris offers several piano solos that exemplify controlled, profound swinging..." © TiVo
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Jazz - Released January 1, 1993 | Dreyfus Jazz

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Jazz - Released August 28, 2019 | PM Records

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Jazz - Released January 28, 2013 | Dreyfus Jazz

For his second Dreyfus Jazz album, Grossman ventures into New York's Sweet Basil club, with a stellar piano trio (McCoy Tyner, Avery Sharp, Art Taylor) in tow. With this kind of firepower, the listener is usually guaranteed a satisfying level of cooking jazz, and that's certainly what we get here, though it seldom rises above that into a higher region. Grossman's tune choices are mostly predictable standards, the one exception being his own cheeky title "Love for Sal," a bop-style number where the bass and then the piano double the tune's lead sax statement. Throughout, Grossman likes to fire away the eighth notes in that pungent, Sonny Rollins-influenced tenor tone, with Tyner often temporarily (and generously) dropping out so that the saxophonist can develop freer melodic patterns over the bass and drums. "Impressions" -- taken virtually at Tyner's late employer John Coltrane's tempo -- does achieve a special ignition, driven hard by Taylor, with some exploration of multiphonics by an inspired Grossman. Otherwise, a mostly solid live session of post-bop. © Richard S. Ginell /TiVo
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Jazz - Released October 3, 2008 | Timeless Records

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Jazz - Released September 1, 1973 | Now Again Records