City Life: Music of Gregg Hill

4 1/2 STARS Michigan-based composer Gregg Hill is on a remarkable roll, authoring an impressive run of compositions represented on eight albums released on the Origin Records label. Each has featured a bandleader associated with the top shelf staff at Rodney Whitaker's jazz program at Michigan State University. City Life (2025) is the third under the leadership of trombone great Michael Dease. The two-disc release includes 19 compositions from Hill, and features a cast of some of the most powerful voices in jazz today.

Disc one finds the trombonist in trio with bassist Linda May Han Oh and drummer Jeff Tain Watts. The title track bears all of the sonic elements of the recording, driven by Dease's multi-faceted virtuosity. There is a grand sense of intuition to the session, spurred not only by intent listening and reaction, but seemingly by empathy and respect as well. The parameters need not be defined for this trio, as they build the tune from the ground up entrenched in dynamic diversity.

There is more melody-based intent on "Danger Zone," though the tune sprints to the finish line with Dease's sonic blast. "Movie Theme" adds the angelic vocal work of Brooklyn Dease to the melodic mix. As in all of the ten tunes on disc one, Oh acts as the foundational fulcrum of this chord-less trio. Watts' creativity in an almost orchestral sense, continually extends traditional form into new sounds. There is no degree of separation role-wise between the three, turning this seemingly complex alignment into a simple, concise form that sings freedom from beginning to end.

Disc two adds rapidly ascending tenor saxophonist Nicole Glover and master pianist Geoffrey Keezer. Dease and Glover connect by trading fours from the outset of "Tea Time," with Glover's traditional sound tempered by open modernism. Adding Keezer to the rhythm section adds nuance to the playing of Oh and Watts, creating an inviting space for Glover to expand and pontificate on the central theme. As Hill continues to work with Dease and other Detroit area musicians like Whitaker and Randy Napoleon, he increasingly writes thematically for the individual skill sets of the artists. This quality can be claimed as common by some, but in the end, few have the opportunity, time and support to enable musicians compositionally, as bandleaders once could while on the road. Of course, the most notable example of this would be the great Duke Ellington. Not to draw direct comparison there, but Hill has, in his seventies, remarkably done just that, with this particular recording hailing at the summit of the concept. The interplay between Glover and Watts on "The Classic ll" leads to a Dease solo played between the flaming constant of the drummer and the sparse, intelligent comping of Keezer. The melody is stated after that torrid introduction, as if Hill is adding a compositional watermark to the tune. Watts' solo brings the theme to an explosive end.

While the trio sound on disc one is an unflinching statement of freedom, both in a compositional and improvisational sense, disc two provides more harmonic structure. Obviously, the personnel change is the major factor here, yet the manner in which the band interprets Hill's work still denotes freedom and provides a wide landscape for Glover and Dease to maneuver. The groove provided by Watts, Oh and Keezer has great flexibility, a united stance between composer and musicians. "Mr. Hurt" is a case in point to this notion, with Watts blazing the way for Dease's extended solo. While the trombone tradition rings true in the playing of the bandleader, Dease's solo exemplifies a style of playing that fits like a glove into his recent projects. His penchant for progressive change within form, ability to align himself with strong musicians and ardent enthusiasm for his craft comes across with each of his releases. Glover, Keezer and Oh follow, enhanced by a soundscape created by the masterful cymbal work of Watts.

City Life may very well be the best of Hill's prolific work over the past ten years. While all of his compositions offered on the eight-album set released on Origin bear marks of his brilliance, the central Michigan composer has struck gold with this combination of musicians, led by Dease, a generational talent on his instrument. This record should show up on a variety of end of the year lists for best jazz releases of 2025.