Andrea Grossi was born in Monza, Lombardy, in 1992 and now lives and works in Milan. He studied double bass and jazz composition at the Conservatorio "Arrigo Boito" in Parma under bassist and composer Roberto Bonati, earning his diploma in jazz double bass in 2017 (110/110 cum laude, with special mention) and a second diploma in jazz composition in 2022 (110/110 cum laude). Alongside Bonati, his conservatory teachers included drummer Roberto Dani, pianist Alberto Tacchini, and reedists Riccardo Luppi, Fabrizio Fanticini and Riccardo Ceni, and he took masterclasses with Bruno Chevillon, Barre Phillips, Han Bennink, Misha Alperin, Arild Andersen, Bruno Tommaso, and Franco D'Andrea and Marcus Miller, both already profiled on this site.

In 2016, the Beatrice Arrigoni Quartet, with Grossi on bass alongside pianist Lorenzo Blardone and drummer Matteo Rebulla, won the MIDJ prize for Best Jazz Band Under 30 in Lombardy and Emilia-Romagna. He has also received a Special Mention in the Giorgio Gaslini International Prize.

Grossi founded his trio Blend 3 in 2017 with alto saxophonist Manuel Caliumi and electric guitarist Michele Bonifati, a working group that plays entirely through collective composition and improvisation rather than a fixed lead-and-accompaniment format. The trio's debut, Lubok (2019, We Insist! Records), was recorded September 24-25, 2018, with liner notes from photographer and artist Roberto Masotti, whom Grossi has named as a lasting influence on how he thinks about his own work. A year later Grossi expanded the group into the twelve-piece Andrea Grossi Blend Orchestra for Four Winds (2020, We Insist!), a suite built around the four Greek winds and their cardinal-direction symbolism, reviewed in Italy by The New Noise and Jazzitalia. Blend 3 then turned to song form on Songs and Poems (2022, We Insist!), setting Emily Dickinson and e.e. cummings texts with singer Beatrice Arrigoni added to the trio (plus Gledis Gjuzi's toy piano on two tracks), recorded around Monza in the second half of 2021.

The trio's fourth album, Axes (2024, We Insist!), added American drummer Jim Black for the first time on a Blend 3 record. Discogs' own Top Jazz 2024 compilation credits the album's inclusion in Musica Jazz magazine's year-end poll, and Axes drew reviews from All About Jazz, Jazz Journal and Jazzword; on the record, Grossi plays double bass, electric bass, Bb clarinet and an Albanian lahuta (a long-necked lute) in addition to composing.

Beyond Blend 3, Grossi is a regular sideman for his former teacher Roberto Bonati, appearing on multiple recordings by Bonati's Chironomic Orchestra and Roberto Bonati ParmaFrontiere Orchestra between 2016 and 2024, and he plays in the recurring Pipeline/Trio Pipeline/Pipeline (21) project. Other credited sideman work spans HIIT's For Beauty Is Nothing But the Beginning of Terror (2023, Clean Feed Records), Korr's Tombé de la Voûte (2021, We Insist!), Nexus's Nexus Plays Dolphy (2024, Red Records), Daniele Cavallanti & the Songlines Band's The Dreamtime (2023, Felmay), the Francesco Chiapperini Extemporary Vision Ensemble, Luca Perciballi's Organic Gestures, Biagio Coppa & Intrepid Trio, and Beatrice Arrigoni's own quartet and solo releases. Grossi also composes for dance and theater, including a 2018 commission for the Danzability Company, one of ten finalists that year at the Festival Escena Mobile choreography contest in Seville, and he teaches double bass, electric bass and improvisation at the Accademia Musicale Crepaldi in Pogliano Milanese.

Grossi's own account of his bass playing runs through a specific lineage of composer-improvisers on the instrument: Mark Dresser, Barre Phillips and Barry Guy on the freer end, and Gary Peacock, Dave Holland, Scott LaFaro, Miroslav Vitous and Eddie Gomez on the more harmonically rooted side, with Chick Corea's A.R.C. and Dave Holland's Conference of the Birds singled out as formative records. Blend 3's own music follows from that split: a trio built to work without a drummer for its first two records, using collective composition and improvisation as its only structural tools, in a format one reviewer described as a kind of chamber jazz where each instrument's sound is left to develop and communicate on its own terms. Adding Jim Black's drums for Axes did not push the group toward a more conventional rhythm-section role - reviewers describe the record's title suite as a rigorously written but rhythmically explosive polymodal piece, and one review called the album's shift into groove-driven material its "free-funk" side. That range, between fully open improvisation and tightly constructed writing, runs through Grossi's other work as well, from the orchestral scale of Four Winds to the text-setting of Songs and Poems.