Found in Space: The Music of Gregg Hill

Michael Dease's latest album, Found in Space: The Music of Gregg Hill, is a unique and creative journey through the mind of Michigan-based composer Gregg Hill, whose work deftly balances complexity with accessibility. Released by Origin Records on September 20, 2024, the album honors Hill's exceptional compositional voice, combining intricate counterpoint, shifting time signatures, and surprising harmonic textures with an ensemble of top-tier jazz musicians. Dease, an award-winning trombonist and baritone saxophonist, leads his ensemble to express Hill's genre-bending compositions' many moods and colors.

The ensemble assembled for Found in Space: The Music of Gregg Hill are contemporary jazz talents and educators, each musician bringing a unique voice and exceptional artistry to the project. At the helm, Dease on trombone and baritone saxophone, showcasing his versatility as a performer, arranger, and bandleader. Joining him is Rudresh Mahanthappa on alto saxophone, Sharel Cassity on flute and alto saxophone, Jason Hainsworth on tenor saxophone, and Virginia MacDonald on clarinet, each delivering solos rich in expression and technical brilliance. The brass section shines with trumpeter Matt White and trombonist Nanami Haruta, whose contributions add depth and color to the ensemble's sound. Bill Cunliffe, a Grammy-winning pianist, anchors the rhythm section alongside bassist Katie Thiroux and drummer Colleen Clark, while Gwendolyn Dease's marimba and percussion work injects a pulsating energy into the mix. Together, this group forms a cohesive unit capable of creatively navigating Gregg Hill's compositions, making every track a vivid exploration of Hill's musical imagination.

The album opens with "The Last Pop Tune," an angular and rhythmically inventive piece highlighting Hill's penchant for unconventional time signatures and playful melody. White's arrangement cleverly builds on the multi-layered nature of the composition, which makes the various time signatures flow naturally and codifies each section's melody. Cunliffe's piano figure opens the song and establishes the three different time signatures. The genius behind the composition and arrangement is the time changes feel natural and create an unusual and engaging groove. Cunliffe and Cassity deliver fine solos before Gwendolyn and Clark improvise over rhythmic figures by the ensemble. Dease follows with his baritone saxophone solo. White's muted trumpet solo is excellent, his energy and clarity are impressive.

The title track, "Found in Space," arranged by Cunliffe, epitomizes Hill's blend of classical counterpoint and jazz improvisation and qualities. Cunliffe's Fender Rhodes is the grounding feature as the ensemble layers in. Hill's composition has multiple part counterpoints and multiple feel changes. The sonorities are jazz, but the harmonic progression would be more liken to contemporary classical. Each section of the composition has its own character, but each is well-defined and shaped with a building melody and orchestration. Cunliffe uses the various colors of the ensemble to shape Hill's melodies with textures; for example during the intricate counterpoints, the brass and woodwinds are used to keep each line clear and auditable.

"One for Rodney," dedicated to bassist Rodney Whitaker, is our first taste of straight-ahead swing. This track blendsMichael-Dease-2 poly-rhythms, blues, classical, and bebop with bold harmonies and catchy melodies. Thiroux, Mahanthappa, and Cassity perform fierce solos on alto saxophones. Joseph Herbst's arrangement does Hill's composition justice and gives plenty of room for the ensemble to shine. The details, for example, the rhythmic figure supporting the first part of the alto saxophone solo form, lead to a wonderful lift and smoothing to a straight-ahead swing feel that builds the excitement. The soli section is excellently performed leading to an impressive big band styled shout chorus.

"The Stray Moonduck" opens with Dease showcasing the energy and commanding presence that earned him recognition as an award-winning trombonist. His improvisation is brimming with jazz attitude, setting the tone for the multi-textured composition. White's arrangement masterfully preserves the rich counterpoint in Hill's writing, keeping the delicate balance of texture and color intact. The spotlight on the trombone continues as Dease and Haruta deliver exceptional solos that stand out with individual character. Hainsworth's tenor saxophone solo grabs attention, with the ensemble's rich backing parts providing a strong foundation. Hill's composition is an intertwining of contrapuntal lines, with each element playing a pivotal role in shaping the narrative. It strikes a rare balance between structured written material that develops over time and open spaces for improvisation, giving the piece its dynamic depth.

"The Puppet Thief," arranged by Cunliffe, offers a traditional feel, its expansive soundscape marked by the melodies being passed between the various colors of the ensemble. The tutti playing is well executed and synchronized perfectly. Theroux's bass solo naturally leads to a hard-swinging solo by Cunliffe on the Rhodes. Gwendolyn's conga playing adds to Clark and Thiroux's rich swing feel. Cassity's flute solo is particularly enjoyable in her harmonic structure and rhythmic feel. Hainsworth's tenor saxophone solo is powerful and expressive, further elevated by the piece's modern counterpoint narrative surrounding him.

"Rue de Royal" invites us to dance to the infectious New Orleans-inspired second-line groove. Hill's composition hones in on the contrapuntal tradition of the style. The arrangement by Hainsworth is playful and puts each of Hill's harmonic and melodic ideas in a space that is easy to follow and understand. Dease's baritone saxophone solo gives us another angle of his musical creativity, while White and Mahanthappa trade phrases in keeping with the New Orleans style. The two listen closely to each other to build the section to intensity. Hainsworth tenor puts the contemporary edge to the traditional feel. Macdonald's clarinet solo rounds out the section, adding a touch of New Orleans lagniappe for an extra layer of charm.

Opening with rich and balanced ensemble voicings, "Chillin' with Wess" is a relaxed arrangement by Cunliffe of Hill's composition that expertly weaves counterpoint, rhythmic displacement, and recurring motifs. Hainsworth and Haruta trade solo statements, each building intensity through elegant, inventive ideas. MacDonald's clarinet adds an adventurous spirit, buoyed by Cunliffe's finely voiced piano accompaniment. After the solo section, the ensemble's playing and the intricate writing culminate in an impressive orchestration, leading seamlessly into a group improvisation that sets the stage perfectly for Gwendolyn's marimba to introduce the coda.

"Anthem," arranged by Dease, has a mysterious atmosphere and harmonic structures. Cunliffe and Thiroux perform in unison to set the groove as Cassidy colors with her improvised elegance. The ensemble voicings add to the suspense. Dease's baritone saxophone shines here, his deep, resonant tone leading sections with its power. This gravitas continues to his solo statement that man is talented; no denying that. MacDonald's clarinet and Mahanthappa's alto saxophone contribute brilliant solos. Hill's compositions are an adventure, and one that inspires the players with fresh harmonic patterns and themes of explorations.

"Nostalgia," arranged by Dease, begins with a commanding rhythmic figure, as Clark's energetic drumming propels the ensemble forward. The intensity soon gives way to a lighter Brazilian vibe, with Cassity's flute expressing over the rhythmic energy, displaying her melodic ingenuity. Haruta on trombone, Cunliffe on piano, and Thiroux on bass each take turns delivering captivating solos, adding layers to this inviting, multi-textured composition. Dease describes the track as a fusion of styles: "So, you get the driving push at the beginning, then this contrast between the straight eighth rockish feel of the band with the swinging melody on top. From there, it goes into a bossa nova section for the flute solo. I've played so many songs that, for whatever reason, stay in the same stylistic zip code, and I think it's a risk when you shift styles. But in this case, the band approached it fearlessly, and the development of the style imbues it with a sense of drama that I don't hear a lot in chamber ensembles like this. So, it shows everyone being 150% committed to the trajectory of this song."

The album concludes with a suite-like composition called "A Wrinkle in Time," arranged by White, which opens and closes with atonal blasts of free jazz, framing the piece with an edge of unpredictability. In between, it evolves from a quasi-classical theme into a driving backbeat, before giving way to a solo section where each member of the ensemble delivers potent 16-bar statements. Dease's extended two-minute trombone solo finds him flowing with confidence and creative freedom.

Michael-Dease-1In Found in Space: The Music of Gregg Hill, Michael Dease and his ensemble showcase Gregg Hill's ability to compose music that both challenges and inspires. This album is particularly compelling because Hill's compositions serve as a platform for these celebrated educators to express themselves as performers. This interplay of creativity and pedagogy ultimately enriches their teaching, shaping the next generation of jazz musicians.