You and some friends stumble into a jazz club somewhere in Chicago. You are not quite familiar with the genre, but you have heard enough to know what to expect. You assume that the four guys who are preparing to play will do something that is mellow and cool, because that is what jazz musicians do. They will avoid anything that even resembles pop music, because that type of music has always been taboo in the more sophisticated jazz circles. But then the quartet begins to play, and you hear and see something that suddenly ruins all preconceived notions of what jazz music is supposed to be. The songs are spirited and melodic. The band's energy is contagious - enough so that the crowd is now standing and making an improvised dance floor out of the little bit of space in front of the band. More surprisingly, the crowd is composed of people who are young and old, black and white. Something different is going on here, something which causes you to want more. The young leader of the band, the one who has been wowing the crowd with his saxophone skills, then introduces himself as Chris Greene.

Chris Greene is determined to fight musical segregation. He is making a name for himself on the Chicago jazz circuit by attempting to fight the many stereotypes which accompany his beloved genre. Greene is the leader of a quartet of musicians, called The Chris Greene Quartet, who want people to know that jazz is not for old people, and it doesn't have to stand in stark contrast to popular music. His is a form of jazz which embraces youthful energy and pop accessibility. Audiences do not feel forced to passively sit and play it cool while Greene does his thing, detached from the crowd. He and his band of highly-touted musicians - Damian Espinosa on piano, Marc Piane on acoustic bass, and Tyrone Blair on drums - are committed to connecting with their audience each and every night.

Greene's lifelong willingness to fully embrace pop music while holding true to the roots of jazz has distinguished him for as long as he can remember. Greene was one of the rare teenagers who played in the school band and had time for both John Coltrane and Michael Jackson. He made sure that he didn't isolate himself during the storied MTV years of the mid-1980's. He learned very early in life that some of the best jazz is made by people who know the rules inside and out, and are more than willing to break them. As with all genres of music, people are quick to try to place jazz in a box. As with all genres of music, there are people who are willing to think outside of that box. Greene has always found himself drawn to these people. It is now no surprise that he is considered in high regard as a saxophonist who encourages his band to blend blues, gospel, and funk into what they are doing.

Greene is excited about the future of jazz. He hopes to present another viable musical option to people who want more than what is out there. He is surrounded by musicians who constantly challenge him both in the rehearsal room and on Chicago's stages. The Chris Greene Quartet is developing a reputation for putting on inspired, impassioned shows. Most appealing, however, is the band's desire to never play it safe. They understand that there is a certain amount of risk in never having two shows be the same. But Chris Greene also realizes that when musicians make themselves vulnerable onstage, people react. It may even inspire audiences to do something unexpected and spontaneous, such as getting up and dancing in a jazz club somewhere in Chicago.