Carmel
In the vast universe of jazz, where the echoes of the past continually meld with the explorations of the present moment, Michael Dease's "Found in Space: The Music of Gregg Hill" is a journey through the mind of one of America's most idiosyncratic composers. Dease, a formidable trombonist and educator, is no stranger to innovation. Yet, with this album, he boldly ventures into the uncharted territories of Gregg Hill's compositions, offering an album inspired by Hill's musical cosmos and reflecting Dease's artistic vision.
The album's title, a playful nod to the 1960s sci-fi series Lost in Space, indicates the tone for what lies within—a collection of compositions inspired by a journey into the unknown. Hill's music, often described as a confluence of Zappa's ambitious orchestrations, the structural elegance of 20th-century classical music, and the freewheeling spirit of jazz, finds a perfect interpreter in Dease. Through this album travelers traversing the sonic landscapes Hill has crafted over decades of relentless creativity.
At the heart of this cosmic exploration is an ensemble as diverse and dynamic as the music they bring to life. Led by Dease, the group features some of today's most formidable talents in jazz, bringing their unique voice to the project. Alto saxophonist Rudresh Mahanthappa, known for his fiery improvisations and innovative approach, joins forces with the lyrical clarinetist Virginia MacDonald, the virtuosic flutist Sharel Cassity, and the versatile tenor saxophonist Jason Hainsworth. Trumpeter Matt White, whose arrangements on the album are as intricate as they are bold, adds a sharp, brassy edge, while trombonist Nanami Haruta provides a sensitive counterpart to Dease's earthy and technically striking tones.
The rhythm section, anchored by bassist Katie Thiroux and drummer Colleen Clark, is always creating a pocket regardless of the groove and subtlety, with pianist Bill Cunliffe's deft touch on both acoustic piano and Fender Rhodes adding harmonic depth. Rounding out the ensemble is Gwendolyn Dease on marimba and percussion, whose contributions evoke the adventurous spirit of Zappa's iconic bands, making this a truly stellar assembly of musicians.
From the opening track, "The Last Pop Tune," it is clear that this is no ordinary jazz album. Trumpeter Matt White, a long-time collaborator of Dease, arranges this piece with an almost mathematical precision, navigating through shifting time signatures with the deftness of a seasoned explorer. The tune's playful complexity—oscillating between meters of five, six, three, and four—is a microcosm of the album's broader narrative: one of constant evolution and surprise. Dease's trombone weaves through White's well-crafted arrangement like a seasoned traveler guiding us through Hill's ever-changing terrain.
The title track, "Found in Space," arranged by Cunliffe, exemplifies the fusion of structured composition and spontaneous improvisation that defines Hill's music. Cunliffe paints with the sonic pallet of the ensemble to clearly present Hill's motifs. The composition has a series of dynamic feels and form components. Dease's baritone saxophone playing is featured prominently, alongside standout solos from White, Mahanthappa, and Cunliffe. This is a piece that feels grounded and celestial, with each soloist working with the rhythm section to contribute to the emphasis of various rhythmic constructions to create a powerful soundscape.
"One for Rodney," a tribute to bassist and Hill enthusiast Rodney Whitaker, is perhaps the album's most eclectic offering. The opening section, with its nods to Monk's angular melodies and the spy-thriller suspense of "Mission Impossible," gives way to a swinging section that showcases bassist Katie Thiroux's lyrical prowess. The piece's unpredictable structure—shifting from quirky motifs to fierce alto saxophone duels—mirrors Hill's compositions' unorthodox yet deeply compelling nature.
Dease's trombone shines exceptionally bright on "The Stray Moonduck," which captures the earthy, blues-drenched essence of his playing and the more deliberate touch of his fellow trombonist Nanami Haruta. Their interplay, reminiscent of the legendary J.J. Johnson and Kai Winding duets, brings a sense of dialogue to the music.
Throughout "Found in Space: The Music of Gregg Hill," Hill's music is brought to life by Dease's trombone but by an ensemble of musicians who understand the intricacies and nuances of his compositions. Virginia MacDonald's clarinet, in particular, adds a lyrical, almost vocal quality to pieces like "Chillin' with Wess," where her instrument's warm, woody tones contrast beautifully with the more percussive marimba of Gwendolyn Dease.
As the album draws to a close with "A Wrinkle in Time," arranged by White, we are reminded of the cyclical nature of time and space—a fitting metaphor for Hill's music, which constantly circles back on itself, revisiting themes and ideas in new and unexpected ways. Dease's extended trombone solo in this final track encapsulates the essence of the album: a journey through familiar yet ever-changing landscapes, where each step reveals a new vista, a new possibility.
"Found in Space: The Music of Gregg Hill" is brought to life through the power of collaboration, the importance of mentorship, and the unending quest for artistic expression. Michael Dease and Gregg Hill have charted a course for exploration—our vehicle is jazz, and we travel through the waves of the album's cosmos. This musical journey, "Found in Space: The Music of Gregg Hill," offers a richly rewarding experience.