For over three decades, The Greyboy Allstars have been a cornerstone of American groove music—merging jazz, soul, and funk with the swagger of hip-hop and the improvisational freedom of the avant-garde. Since their early days in the 1990s San Diego scene, the Allstars have created a sound all their own: West Coast Boogaloo, named after their landmark debut album with funk icon Fred Wesley. That record, West Coast Boogaloo (1994), was a defi ning statement—deep, danceable, and drenched in soul—and helped spark the West Coast’s acid jazz and funk revival. Their follow-up, A Town Called Earth, expanded the band’s scope, layering cosmic jazz infl uences and cinematic textures onto their already formidable funk foundation. Both albums remain touchstones of modern groove music—sampled, revered, and referenced by DJs, beatmakers, and next-generation jazz artists the world over.

Yet The Greyboy Allstars have never been content to rest on legacy. In an era where jazz is being redefi ned by young innovators across London, New York, and Los Angeles, the Allstars remain essential listening—a band that helped build the house and is still remodeling it from the inside. Their latest release, Grab Bag: 2007–2023, is a powerful reminder that this group is not only active, but also evolving. A compilation of previously unreleased tracks, deep cuts, and left-fi eld gems recorded over the past 15 years, Grab Bag is both a treasure trove for longtime fans and a perfect entry point for new listeners. From tight rhythm workouts to spacey organ-fueled explorations, the album proves that the band is as inspired and locked-in as ever—still funky, still fearless, and still pushing boundaries.

Each member of The Greyboy Allstars brings a distinct voice and towering resume, yet together they form a rare musical ecosystem built on trust, taste, and telepathy. Saxophonist and fl utist Karl Denson is a relentless creative force whose fi ery playing blends the soul-jazz tradition of Sonny Rollins with the raw funk of Maceo Parker. As the leader of his own Tiny Universe and longtime touring member of The Rolling Stones, Denson has become one of the most recognizable horn players in modern music. Keyboardist Robert Walter, a titan of the Hammond B3, brings deep grooves, lush harmonies, and fearless improvisation. His solo records and collaborations have made him a cult favorite across funk and jazz scenes worldwide. Guitarist Michael Andrews, also known as Elgin Park, is the Allstars’ melodic anchor, weaving tasteful lines inspired by Grant Green and Wes Montgomery. As a celebrated fi lm composer (Donnie Darko, Pharrel’s Piece by Piece), his work transcends genres—but his guitar voice in the band is unmistakable and vital. On bass, Chris Stillwell delivers the unsung magic that makes the band swing—his lines are fl uid, funky, and always in the pocket, fusing Motown depth with California cool. Rounding out the rhythm section, drummer Aaron Redfi eld brings nuance, muscle, and rhythmic command. Whether locking in a tight breakbeat or opening up the kit for sprawling jazz interplay, Redfi eld is the heartbeat of the band’s evolving sound.

As they continue to tour and record, The Greyboy Allstars remain one of the most exciting live bands on the planet—schooled in tradition but never bound by it. Their music nods to legends like Ahmad Jamal, Wayne Shorter, Thelonious Monk, and Eddie Harris, while sounding utterly timeless and unmistakably their own. In a time when jazz is colliding with hip-hop, Afrobeat, psych, and beat culture, The Greyboy Allstars are not just relevant—they're foundational. They’ve been laying bricks in this house since day one, and their infl uence only grows deeper.