Carmel Rodney Whitaker is a sought-after bassist extraordinaire and a pre-eminent jazz educator. On his latest project, “Mosaic: The Music of Gregg Hill” (Origin Records, 2025), Whitaker and his vibrant working band breathe life into Hill’s idiosyncratic compositions, crafting an album brimming with fiery interplay, deep swing, and a forward-thinking sense of adventure.

From the outset, the title track, “Mosaic,” draws listeners in with its lush voicings shaped by juxtaposing silence with shimmering patterns of harmonic movement. This grand opening sets the stage for the ensemble’s fluid creativity. Whitaker’s bass signals the next section with his robust basslines setting up the swing time feel. Terell Stafford’s soaring trumpet lines and Tim Warfield’s soprano saxophone perform the compelling melody. Stafford, Warfield, and pianist Rick Roe express solos over the deep swing pocket of Whitaker and drummer Dana Hall. Throughout, Whitaker anchors the band with a steady yet dynamic pulse and his deep connection to Hill’s compositions.

“Unknown Ballade” features Rockelle Whitaker’s soulful vocals that imbue the sensual groove with warmth and power. Her gripping performance of the melody that crescendos into a climactic resolution is impressive. Hill’s writing mixes post-bop structures for the ensemble to explore. This harmonic framework is especially effective in providing interesting pathways of expression during the solo sections. Equally striking is “Claxilever,” where Stafford and Warfield channel the exuberance of hard-bop captured in Hill’s catchy writing and the ensemble’s buoyant swing camaraderie. Stafford’s, Warfield’s, Roe’s, and Whitaker’s improvisations are emotive and musical, with the rhythm section’s earthy swing feel grounding the adventurous explorations. The trading between the ensemble and Hall is outstanding.

Other highlights include “Katie’s Tune,” which blends Afro-Cuban rhythms with a waltz-like feel, showcasing Hill’s skillful integration of cross-cultural influences. Whitaker and his ensemble bring these elements to life, delivering a cohesive modern jazz voice that amplifies the music’s expressive truths. On “Sloe Gin Fizz,” the ensemble reaches its hard-swinging zenith, with Hill’s composition delivering a poetic melody and setting for exploration. Whitaker’s jazz blues solo seamlessly transitions into Stafford’s. Warfield’s improvisation builds to Rick Roe’s inventive piano improvisation. The trading section’s interplay here epitomizes the art of interactive jazz performance.

“Mosaic: The Music of Gregg Hill” reflects how jazz remains a living, breathing art form, deeply rooted in historical contexts that can be expressed upon. Hill’s compositions draw from the genre’s storied past, reflecting the subtle influences of specific era’s harmonic and rhythmic textures. Tracks like “Sloe Gin Fizz” evoke a 1950s jazz vibe with intricate, eighth-note-based melodies reminiscent of the bebop era, while “Katie’s Tune” radiates the rhythmic energy of Latin jazz fused with modern jazz vitality. By incorporating these historical and stylistic markers, Hill creates a distinctive space for Whitaker and his ensemble to explore, amplifying the authenticity and depth of each piece. Whitaker’s grounding in jazz’s tradition adds his vision for expression as he brings his arranging voice to create a dynamic interplay.

This blend of historical reverence and forward-thinking artistry is at the heart of “Mosaic: The Music of Gregg Hill.” Hill’s ability to balance intricate, note-specific melodies with expansive, chordal frameworks creates a platform for passionate exploration, inspiring Whitaker and his ensemble to deliver performances imbued with precision and emotional resonance. “Mosaic: The Music of Gregg Hill” is a celebration of jazz’s enduring vitality, inviting listeners to journey through its layered artistry and musical sense of place.

Carmel Rodney Whitaker's "Oasis: The Music of Gregg Hill," a musical canvas colored with bold strokes of intellect, sentiment, and compositional artistry. Whitaker, a beacon of jazz education and an accomplished double bassist, presents us with an inspired interpretation of Hill's compositions, offering listeners an intimate look into the heart and soul of the genre.

Whitaker, a distinguished professor, and director of jazz studies at the Michigan State University College of Music, has solidified his standing as a vanguard in the jazz world. His remarkable journey, from playing with the Lincoln Center Jazz Orchestra and the Roy Hargrove Quintet to his influential contributions as an educator, reflects the depth of his commitment to this timeless art form.

On "Oasis: The Music of Gregg Hill," Whitaker brings together a quintet of renowned jazz virtuosos – Bruce Barth on piano, Terell Stafford on trumpet, Tim Warfield on saxophone, and Dana Hall on drums – to breathe life into Hill's compositions. Each track serves as an auditory feast, boasting stellar solos, fluid textures, dynamic momentum, and an unyielding swing that resonates throughout the album. Rockelle Fortin’s vocals add a lyrical dimension to four tracks, setting the tone with the high-octane opener, "Betty's Tune."

Hill’s compositions and Whitaker's arrangements are intrinsically symbiotic, both contributing to a resounding harmony that makes "Oasis: The Music of Gregg Hill" a compelling auditory tapestry. The result is a collection of tracks that not only pay homage to the rich tradition of jazz, but also challenge and expand the genre's boundaries with their innovative approaches and rhythmic experiments.

In the auditory delight of this album, Whitaker is indeed a foundational rock, grounding the music's diverse phases and moods with his firm, rhythmic anchor. From the compelling tempo of "Puppets" and the nuanced playfulness of "The Jazzdiddy Waltz," to the soulful resonance of "Blues for Gregg," each composition comes alive under Whitaker's deft touch and his thoughtful interpretation of Hill's musical vision.

Each of the 10 compositions by Hill on this album are imbued with a distinct sense of dynamism and intrigue, leading listeners on an unpredictable, yet deeply satisfying, sonic journey. Hill's compositions, under Whitaker's interpretation, become a playground for mood swings, wherein each unexpected turn or nuanced variation presents an opportunity to delve deeper into the captivating narrative of the music.

Hill, a prolific composer who only began composing after retiring from a career far from the world of jazz, uses the classic jazz standard as his creative springboard, crafting songs that are not only engaging but also resoundingly memorable.

"Oasis: The Music of Gregg Hill" serves as a testament to Whitaker's enduring versatility and deep-rooted connection to the language of jazz. The signature of Hill's composing style lies in his ingenious manipulation of mood and his daring explorations that tells stories, explores emotions, and invites listeners to step into the vibrant world of jazz.