
The Greyboy Allstars have grown from an acid jazz buzz band in the 1990s into a genuine West Coast institution of funk, soul, boogaloo, and jazzy jams in the 21st century. Saxman Karl Denson continues to lead the dynamic quintet with the release of their eighth album in November of 2024. They’re best known for their energetic live shows that never fail to ignite the dance floor, but Grab Bag: 2007-23 is a vibrant collection of previously unreleased tunes that show off the group’s mad skills.
“It made sense to go back into our archive and put out some of our favorites from the past several years,” explains keyboardist Robert Walter in a press release. “A lot of these songs on Grab Bag are more experimental and representative of the edges of what we would normally do stylistically. I think it shows our range in a great way.”
“We are always trying to move outside of the basic parameters of the initial soul jazz construct that we based the group on when we first started 30 years ago,” adds guitarist Elgin Park.
When they first formed in San Diego in the early 1990s, the Greyboy Allstars were under-the-radar stars of their local scene. But time and change have revealed world-class musicians who have become more widely renowned. Denson has sat in with a who’s who list of the improvisational music world and has been touring with the Rolling Stones since 2014.
Walter has lent his psychedelic skills to Pink Floyd‘s Roger Waters and Phish‘s Mike Gordon touring bands. Park (aka Michael Andrews) has carved out another gig, scoring Hollywood soundtracks that range from cult classic Donnie Darko to Freaks & Geeks. Meanwhile, the elite rhythm section of bassist Chris Stillwell and drummer Aaron Redfield are in-demand session players with credits, including Sia, Elton John, CeeLo, and Charli XCX.
“Slip the Grip” opens Grab Bag: 2007-23 with a laid-back funk groove that sets an inviting vibe. Park uses a clean tone for a nifty guitar solo that gives way to some tasty electric piano from Walter before Denson comes back in with some jazzy jamming on the sax. “Watch Out Gail” picks up the pace with groovy counterpoints beneath Denson’s sax. Park puts on a masterclass of funky guitar comping, Walter adds some stylish organ jamming, and Stillwell throws down a popping bassline over a tightly syncopated beat for one of the album’s most infectious tunes.
“Speed Freak” follows with a surging sound as Walter and Denson weave melodies over a crisp beat and hot groove. Denson’s flowing sax is like a force of nature, while Park’s guitar lines sound like they could power a 1970s cop show. “Boxes” starts in an old-school 1960s jazz mode with Walter on piano and Denson playing smooth sax before Stillwell pushes the groove forward with some walking bass. That sets up Denson to go more bebop, leading to an exploratory sax-driven jam as the groove deepens. The baton goes back to Walter for some jazzy piano, recalling greats like McCoy Tyner and Herbie Hancock before Denson lets it rip toward the finish line of the album’s longest track at seven and a half minutes.
“San Diegogo” may be the most catchy tune, with a sharp, funky groove that sets the stage for some sublime jazz flute from Denson. The tight beat and loose groove generate the unique Greyboy Allstars sound in tribute to their hometown, one of America’s finest cities, no doubt, with the best weather in America and laid-back Pacific Ocean beach vibes. The solos are next level, with fierce piano plunking from Walter and otherworldly flute from Denson that conjures psychedelic visions of the one and only Ron Burgundy.
“Lil” mixes things up with a vocal tune on an upbeat retro lounge/cantina vibe, a mid-tempo number with some more stylish flute from Denson. “Suadela” pairs well as an atmospheric track featuring soft, jazzy sax, trippy keys, and warm bass over what feels like late-night psychedelia.
A cover of Michael Jackson‘s “The Way You Make Me Feel” finds the Greyboy Allstars putting a soul-jazz stamp on the song, with Walter’s organ leading the band in a groovy direction. Park, Stillwell, and Redfield put on a funky clinic, setting up Walter and Denson for hot solos that stick close to the pocket. Park kicks on a little more overdrive for his solo, with Stillwell’s pulsing bass line popping out clearer, too. It’s a gem of a track where the quintet’s collective sound once again seems to rise above the parts thanks to their seemingly telepathic chemistry.
“Pixie Stick” wraps the collection with what feels like a cheery holiday vibe as Denson’s sax floats over Walter’s laid-back organ before switching to ethereal flute and then back to sax again. There’s a comforting vibe as if the band are saying goodnight after a hot show.
The quintet delivered another heater when they packed the Independent in San Francisco on the weekend of the album’s release for a sold-out show on 23 November. “Watch Out Gail” was a highlight of the first set, with Park and Stillwell even swapping instruments and not missing a beat on a stellar jam. “Speed Freak” was a peak moment in the second set to get the audience going, as the new material blended into the repertoire quite nicely for another electrifying Saturday night fiesta from the Greyboy Allstars.