Kresten Osgood (drums, percussion and poetry)
With:
Tanya Kalmanovitch (viola)
Karen Borca (bassoon)
Marcus Rojas (tuba)
If you flip to the back of the May edition of the New York City Jazz Record, a full page ad announces that “Kresten Osgood is finally back in the US!” That proclamation only drew a small audience to the Downtown Music Gallery on May 28th—those who were there witnessed a low-key, but potent set of music.
The gig was part of Osgood’s NYC run of shows, including appearances with Cooper Moore in Brooklyn on May 29th and at The Stone with Eugene Chadbourne on June 1st and 2nd. As befits a gig in the back of a record store, the Downtown Music Gallery show began informally, with the musicians chatting about life in Europe, listening to Cecil Taylor records and finally kicking pot. After a group of friends, family and fellow musicians gathered in the downstairs space, Osgood and his group played a single improvised piece that lasted over an hour. The inauspicious setting didn’t really prepare the listener for the abilities of these world class musicians—especially impressive was the players’ feat of listening during what appeared to be an entirely improved piece.
From left – Rojas, Osgood, Kalmanovitch and Borca
The music started quietly with soft percussion from Osgood, but quickly gathered steam with statements from Borca’s woody bassoon, Rojas’ resonant tuba, or alternating dissonant and melodic riffs from Kalmanovitch’s viola. At one point 45 minutes in, the music seemed to reach a logical end point and eased into silence; but when the audience held their applause in respectful and rapt attention, Osgood filled that silence with soft percussion patterns, and Rojas and Borca started playing again. The music continued for a 15 minute coda, during which Osgood delivered a spoken word performance about the futility of violence over his drumming. One got the feeling the audience became co-composers in that moment, having given the musicians the comfort zone to stretch out even further.
When the playing did end to raucous clapping, Osgood proclaimed to the audience that he was playing with some of his favorite musicians in the world, and asked everybody to give each one of them individual applause, which was willingly provided. The looks of gratitude on the musicians’ faces were touching—the life of the improvising musician is demanding, far removed from rockstar glamor and acclaim. The vibe of the subterranean record store became one of mutual validation; the audience’s validation of the performers’ skill and creativity, and the performers’ validation of the audience’s willingness to explore the extemporaneous avant-garde.
More Kresten Osgood!
Osgood is known for his playing with Sam Rivers on 2005’s Purple Violets (check out the cover of “The Mooche”) and the following years’ Violet Violets (try “Nature Calls, Part 1”). River’s compositions and instrument switching depend on momentum from the drummer, and Osgood filled the role with aplomb.
Osgood has released many records as leader or co-leader. An excellent example is a co-leader session with Ran Blake, The Dorothy Wallace Suite. Osgood’s drumming is patient and creates the perfect sonic landscape for Blake’s crystalline piano.
Osgood’s leader sessions display enormous variety – a perfect example of Osgood’s new album, Kresten Osgood Plays The Organ For You. Yes, he’s on organ, not drums! The album’s buoyant grooves and melody could not more different from Osgood’s other music, but what they share is a common sense of adventure and fun. Also check out Osgood’s new podcast, Dangerous Sounds, which covers the history of Danish jazz. A truly diverse and amazing artist.
The cover of Osgood’s new record