by Jeff Becker, Jazz Sensibilities
November 6, 2024
Listening to Found in Space: The Music of Gregg Hill is akin to stepping into an astral observatory. It’s an expedition of sound, and at its helm are the genre-bending compositions of Gregg Hill, shaped into a constellation of creativity by trombonist Michael Dease and his dynamic ensemble. Dease serves as the captain of this vessel, but the true gravitational force here is Hill’s writing imagination—a strength that beckons listeners into jazz territories yet unexplored. Released on September 20, 2024, under Origin Records, this album marks the latest installment of an ambitious artistic dialogue that is part cosmic exploration, part homage.
Found in Space: The Music of Gregg Hill is a rich, expansive, and unique compositional journey. Through its ten tracks, Hill invites us into a universe where jazz is our spacecraft in an interstellar voyage—bound by the gravitational pull of the jazz tradition, yet free to explore uncharted dimensions of other genres’ tug. Michael Dease and his ensemble shine here, acting as both explorers and navigators—interpreting Hill’s cosmic charts with precision, passion, and an ever-present sense of wonder. Like space itself, Gregg Hill’s compositions are full of possibilities, with each listen offering new stars to discover.
by Steven Miller
September 2024
Found in Space: The Music of Gregg Hill buzzes with the power of collaboration, diversity, and the timeless appeal of jazz as a genre that thrives on collective energy. Trombonist and bandleader Michael Dease, known for his reverence for jazz history and his formidable technique, brings together a stellar group of musicians from different backgrounds, ages, and experiences. This project, guided by the intricate, genre-defying compositions of Gregg Hill, serves as a platform for Dease’s belief that ensembles are at their best when they embrace diversity—racially, gender-wise, and generationally.
Dease obviously believes that musicians play better when put in a setting of different backgrounds and experiences. This philosophy perfectly aligns with Hill’s multi-genre approach to composition, which requires technical mastery and the distinct input of each player. The youthful energy of Nanami Haruta’s sensitive trombone work on “The Stray Moonduck” contrasts beautifully with Dease’s more assertive approach, while the seasoned wisdom of Bill Cunliffe, both in his playing and arranging on the title track “Found in Space,” adds depth to the ensemble’s dynamic. Together, they thrive on the richness of their diverse perspectives, creating a space where musical conversations are constantly enriched by the variety of voices in the room through Hill’s organized musical setting.
The dynamic range of these voices is essential to capturing Hill’s vision. In tracks like “The Last Pop Tune,” arranged by trumpeter Matt White, the shifting time signatures are a metaphor for the adaptability required of the ensemble—a musical dance that crosses generational lines, with each musician contributing their own perspective to Hill’s playful and intensely intricate composition. Dease’s commitment to honoring Hill’s material while allowing the band to add their own flourishes showcases his respect for the composer’s voice, even as the ensemble stretches the boundaries of these compositions.
Hill’s music is rooted in a rich tradition, but it’s far from rigid. His tunes are full of surprises, with open spaces for exploration and improvisation. In “The Puppet Thief,” Cunliffe’s arrangement of Hill’s composition is the perfect vehicle for this exploration, with its contrapuntal interplay between instruments reflecting Hill’s ability to blend classical and big band jazz. Dease’s choice to feature two-thirds of the rhythm section as female—Katie Thiroux on bass and Colleen Clark on drums—adds to the chemistry and cohesion of the ensemble. Thiroux’s bass playing, grounded in rhythmic precision, provides a strong foundation that allows the ensemble to flow effortlessly through Hill’s rhythmic intricacies. To further enrich the sound on this track, Gwendolyn Dease’s percussion adds another layer of diversity to the sound.
“Rue de Royal” takes a detour into New Orleans, where Clark’s second-line drumming drives the syncopated rhythms that give the track its lively, street-parade feel. Dease’s baritone sax and White’s trumpet engage in a spirited conversation, with Mahanthappa’s alto saxophone adding a modern jazz edge. The interplay between the horns brings a playful vibrancy to Hill’s composition, as the rhythm section provides a steady groove that invites improvisation without losing the traditional New Orleans flavor.
After an attention-grabbing intro and catchy riff-based melody, “Nostalgia” offers another feel and melodic side of Hill’s writing. The track’s straight-eight grooves morph into a Brazilian pattern that gives the ensemble a chance to relax in a new setting in space. Cassity’s flute digs into the feel of the rhythm section with a melodic ingenuity, while Thiroux and Clark lay down a rhythm that captures the essence of bossa nova, but with a modern groove. This piece highlights Hill’s incorporation of global influences into his compositions, creating a sense of warmth and openness that naturally flows with the other tracks on the album.
“Chillin’ with Wess” is a fine example of Hill’s compositional style, which builds on classical and jazz. The subtle changes in feel and the harmonic progression.
Found in Space: The Music of Gregg Hill is the next documentation of Gregg Hill’s compositional genius through Michael Dease’s vision of what jazz can be when it fully embraces collaboration. By assembling a group of musicians who reflect the full spectrum of jazz’s rich history—past, present, and future—Dease has created an album that honors the genre’s traditions while pushing into exciting territory. In Dease’s hands, Hill’s music becomes a vehicle for something greater than just notes on a page; it becomes a conversation across generations, backgrounds, and experiences, where every voice is heard, and every tone has something to say.
by George W. Harris • September 16, 2024
Trombonist Michael Dease came up with a brilliant idea on his last album in putting together material from the catalogue of composer Gregg Hill. He keeps playing the winning hand on this new release, but with a larger ensemble in Virginia MacDonald/cl, Sharel Cassity/fl-as, Rudresh Mahanthappa/as, Jason Hainsworth/ts, Matt White/tp, Nanami Haruta/tb, Bill Cunliffe/p-key, Katie Thiroux/b, Colleen Clark/dr and Gwendolyn Dease/perc.
Dease also doubles on baritone sax a bit, soulful around Cunliffe’s keys on a rich title track and lurking around an alley on the dark “Anthem” while his trombone is bluesy and bold on “The Stray Moonduck”. The horn sections get a bit frisky on the assertive “Nostalgia” and are bright and extroverted on a Stan Kentonesque “The Puppet Thief” with MacDonald’s flute shooting out of the ejector seat. Clark gets the band into a street fest on the bopping “Rue De Royal”. The percussion percolated under the semi-automatic work of Hainsworth and Dease on “Chillin with Wess” with the leader breaking the ozone layer on the white knuckler ride of “A Wrinkle In Time”. A hill climb worth the view.
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