Found in Space: The Music of Gregg Hill

4-STARS Leaving a legacy in this life is a subject that holds different meanings for people. For some, it involves building a structure of permanence that will stand up to the test of time after one's entrance into eternity. For others, it is more fleeting, something that can be shaped and reshaped, and if desired, completely torn down. For some it is a function of building a monument to oneself. For others, like Central Michigan composer/arranger Gregg Hill, it is a monument to beauty, a simple task of creating music and then endeavoring in every way possible to have that music heard. To date, this has resulted in the release of fourteen albums and five books, all released since 2015. The recorded music has entirely been created and released since 2017. For the 78 year old composer, this has amounted to a late life artistic surge that has produced not only a voluminous library of sound, but one of great compositional value. Its preponderance is also measured in the infinite value of beauty. In the process, Hill gathered a remarkable roster of artists to perform and record the music that centers in and around the remarkable jazz program curated by Rodney Whitaker at Michigan State University.

The artists recruited by Hill include Whitaker, guitarist Randy Napoleon and trombonist Michael Dease. Dease, who has added baritone saxophone to his virtuosic skill set in recent years, first joined with Hill for The Other Shoe (Origin, 2023) and now doubles back a year later with Found In Space (Origin, 2024). The highly acclaimed Dease has put an absolute stamp of approval on Hill's work with the album, immersing himself as bandleader, and top shelf soloist on both of his instruments of choice.

The opener, "The Last Pop Song," is a shapeshifter in terms of time signature. Within the confines of these sophisticated time changes, trumpeter Matt White's arrangement creates ample space for interaction between the brass and woodwind instruments, and for the remarkable solo work of flutist Sharel Cassity, pianist Bill Cunliffe and White himself, who performs on muted trumpet. Cassity is a highlight throughout the album on both alto saxophone and flute.

"The Stray Moonduck" is a double trombone treat, with Dease playing the intro and opening solo, while Nanami Haruta provides counterpoint, in a notably different way in terms of sound and approach. It brings to mind the work of JJ Johnson and Kai Winding, in a modern setting. "One For Rodney" is titled in reference to Whitaker, and features an interesting "Mission Impossible meets Green Chimneys" theme. Once again Dease presents contrasting solo stylists in alto saxophonists Cassity and Rudresh Mahanthappa. While both play a copious amount of notes, the emotional address of each is notably contrapuntal.

"Anthem" allows Dease to explore his alter-ego on baritone saxophone. His ideas, tonality and all around approach seems to be very different from most modern practitioners of the instrument, perhaps influenced by the historically rare task of playing both brass and woodwind instruments. He uses the instrument's range in tandem with Haruta, an easy transition for the trombone virtuoso Dease. Once again, Cassity is free-flowing on flute, chasing the melody with cascading runs and a strong, full bodied sound.

The finale, "A Wrinkle In Time," is highlighted by an extended trombone solo from Dease, on top of Hill's brilliant piece that features two of his prime passions and influences—free jazz and orchestral music, or if you prefer, classical music. There is tremendous push from drummer Colleen Clark and bassist Katie Thiroux, opening up sixteen bar solos from each member of the collective ensemble. It is a fitting bookend to this ten piece offering from Hill, and his ultimate interpreter, Dease.

The inexhaustible energy of Hill is not to be denied. The eclectic compositional voice of the music-rich Detroit / Lansing area has volumes of music yet to be released, with intention of delivery in the near future.