Michael Dease, Found in Space: The Music of Gregg Hill Review
Gregg Hill’s compositions are like maps to uncharted jazz worlds—his latest collaboration with Michael Dease takes us to the cosmos with Found in Space: The Music of Gregg Hill. From the very first track, the album introduces an expansive sonic pallet steeped in Hill’s compositional imagination coming from many genres and influences. Michael Dease, a virtuosic trombonist and ensemble leader, and an outstanding cast of ensemble members bring their voices to these compositions, bridging Hill’s vision with rich interpretations that oscillate between the defined paths of written notes and the cosmos of exploration of improvisation. Building on their previous work together, this release takes their creative partnership to new heights, offering an album grounded in jazz tradition and unbound by its conventions.
Hill’s expansive compositional style is vital to the album’s depth and allure. His pieces reflect a seamless blend of genres, effortlessly moving from 20th-century classical influences to jazz, rock, and avant-garde expressions. This breadth has captivated Dease and the ensemble, each bringing their distinct personality to Hill’s rich themes.
Found in Space is an album about explorations, but one has to start the journey to enjoy the ride. “The Last Pop Tune” begins our ambitious ride with a multi-part piece that has shifting moods and textures that embody the wonder and mystery of Hill’s writing style. Hill’s melodic ideas and counterpoint across the composition are thoughtful and daring, with many surprises in form and harmonic movements. The notable solos give the listener the thrill of improvisation in various sections through its intricate structure. The ensemble’s interplay is particularly striking here, with the musicians navigating Hill’s challenging, multi-genre creation with finesse and sensitivity. Pianist Bill Cunliffe’s solo adds a modern jazz brightness to the flow, his phrases crackling with energy and providing an energetic trajectory for Sharel Cassity’s expressive flute solo. Gwendolyn Dease’s percussion solo is a solid contribution to the trip, serving as an energetic stop before the cadential figure.
“Found in Space” captures the listener’s imagination from the start with its blend of intricate rhythms and expansive developing harmonic textures. Cunliffe’s arrangement orchestrates Hill’s dialogue between the various ensemble sections, establishing a sense of exploration and movement through the layers of counterpoint. The harmonic textures evolve throughout the track, reflecting Hill’s larger compositional themes of expansion and discovery. Dease’s baritone saxophone enters with a bold statement, characterized by a deep, resonant tone and confident bebop-based phrasing that cuts through the ensemble. His solo matches Hill’s compositional flow perfectly, blending warmth with assertiveness. Matt White’s powerful trumpet solo adds a brilliant spark to the evolving narrative, showcasing both his technical prowess and expressive energy. The interplay among the musicians is spontaneous and cohesive, with Rudresh Mahanthappa’s alto saxophone pushing the energy to new heights as he responds to harmonic and rhythmic motifs introduced by the rhythm section, challenging the harmonic storyline with sharp, angular phrases that create tension and excitement. Cunliffe’s Fender Rhodes solo adds a modern sound quality, its warm, sustained tones complement the hip groove by drummer Colleen Clark and bassist Katie Thiroux.
“A Wrinkle in Time” is a richly layered composition that encapsulates and exemplifies Hill’s compositional control of the structured and improvisational nature of his style and the album. The piece begins with a rhythmic theme that builds to an atonal blast of free jazz, creating an atmosphere of unpredictability and surprise. As the composition evolves, it slowly transitions from a quasi-classical theme led by Virginia MacDonald’s clarinet to a powerful backbeat for the solo section, underscoring the ensemble’s ability to navigate diverse stylistic terrains. Each musician gets a moment to shine, contributing potent 16-bar solos that highlight their technical skills and expressive wisdom. Dease’s extended trombone solo weaves through the harmonic landscape with a storyteller’s sense of drama, while the rhythm section supports with a dynamic and constantly interactive foundation. The result is a performance that feels both epic and intimate, showcasing Hill’s compositional genius and the ensemble’s cohesive spontaneity.
From an ensemble instrumental standpoint, Found in Space is dynamic in its arrangement and execution. Dease brings Hill’s work to life, not just with his playing, but also with his choice of ensemble members and their arrangements. The ensemble works together, particularly in the spaces of transitions between the many styles and multiple phrases of counterpoint. The harmonic language throughout the album shows Hill’s love for complex, sometimes enigmatic structures, yet the ensemble keeps everything accessible with fluid playing and textural clarity and dynamics.
“Nostalgia” is where Dease’s traditional jazz phrasing shapes the song’s mood, creating an agile and vibrant conversation with Hill’s theme. This interplay showcases the harmonic flexibility of Hill’s writing and the inventive freedom Dease allows himself within these frameworks. White’s contributions are significant here as well; his trumpet lines build energy with precision, adding a sense of musicality and brilliance that makes their exchange very enjoyable.
Emotionally, the album captures the essence of exploration—both outward into the vastness of space and inward into the complexities of the self. Hill’s compositions lend themselves well to the kind of expansive soundscapes that evoke feelings of awe and curiosity. The cultural context of this album lies in its ability to fuse the legacy of great jazz explorers—like Wayne Shorter and Sun Ra—with a distinctly modern sensibility of classical, rock, and groove. The compositions’ emotional core allows Dease to approach the music with a jazz ethos of collaborative energy and the joy of discovery.
The ensemble’s chemistry is another highlight, with each musician contributing their unique voice to the collective sound. Sharel Cassity on flute and alto saxophone, Virginia MacDonald on clarinet, Rudresh Mahanthappa on alto saxophone, Jason Hainsworth on tenor saxophone, Matt White on trumpet, Nanami Haruta on trombone, Bill Cunliffe on piano and Fender Rhodes, Katie Thiroux on bass, Colleen Clark on drums, and Gwendolyn Dease on marimba and percussion each bring a distinctive energy and character. White, in particular, impresses with his versatility—moving from fiery solos to delicate, nuanced moments with remarkable ease. His playing brings a brilliance and vitality that perfectly complements Hill’s compositions, adding an extra layer of color to the album’s rich palette.
Found in Space: The Music of Gregg Hill is a jazz adventure. Hill’s bold compositional choices and Dease’s nuanced interpretations create a listening experience that rewards multiple listening sessions. Its strengths lie in its fearless exploration of musical ideas while keeping a core of cohesion and accessibility. For anyone with a love for jazz who enjoys exploring different boundaries, Found in Space: The Music of Gregg Hill offers the magic that can happen when the spirit of adventure meets profound compositional structures. That’s the short of it!
Connect with Michael Dease: Website |
Connect with Gregg Hill: Website |
Found in Space: The Music of Gregg Hill
September 20, 2024
Origin Records
9.1