— October 2023
Presenting Technocats, an emerging and positively swinging new musical ensemble that magnificently showcases the hidden treasures and exceptional talents of Michigan, with strong ties to Michigan State University’s renowned jazz studies program. Led by guitarist Nathan Borton and trombonist Chris Glassman, the group also features Xavier Davis on piano, Michael J. Reed on drums and Javier Enrique on bass. Together, they pay tribute to the compositional prowess of Gregg Hill on their debut album, Technocats: The Music of Gregg Hill, with Hill himself also serving as the project’s co-producer.
Hill’s musical creations are characterized by their imaginative complexities and deep emotional impact, providing an ideal foundation for the exceptional musical interaction that shines prominently across the album’s lively collection of tracks. These compositions span a range of emotions and rhythmic patterns, conjuring a timeless essence reminiscent of jazz from the mid-20th century while seamlessly embracing modern influences. The voyage commences with the enthralling “Come On Down,” selected as our featured Song of the Day, which you can listen to via the player below. The composition establishes a captivating atmosphere and a stylish swagger, enhanced by Glassman’s resonant accentuation and an expertly executed bass solo by Enrique.
Although Detroit has long been recognized as a Midwest epicenter of jazz, from which many legendary players have emerged, the adjacent city of East Lansing, should also be acknowledged for its notable pool of players, many of which have ties in some way to the fantastic jazz studies program at Michigan State University (MSU). All members of “Technocats” have this MSU connection. Composer Gregg Hill, has taken full advantage of this talent proximity by way of his latest album “Technocats”.
This album cements Gregg Hill’s reputation not only as an excellent jazz composer but also as a producer. The variety of rhythmic tunes make the quartet cover many delicious emotional flavors, while grounded firmly in classic straight ahead mid-century jazz styles, it is music designed for contemporary times.
The dynamic “Technocats” band includes Chris Glassman, on bass trombone, Nathan Borton, on guitar, Michael J. Reed on drums, Xavier Davis, on piano and Javier Enrique, on bass. They showcase a wide range, depth and artistic maturity. Hill’s memorable themes are used as springboards for narratives by each member of this fine group with solos that are always tasteful, lyrical and accessible. “Technocats” will have far reaching appeal to jazz fans across the spectrum.
This new and dynamic “Technocats” album features many delicious emotional flavors, while grounded firmly in classic straight ahead mid-century jazz styles, it is music designed for contemporary times. Hill’s memorable themes are used as springboards for narratives by each member of this fine group with solos that are always tasteful, lyrical and accessible. “Technocats” will have far reaching appeal to jazz fans across the spectrum.
Michael Dease: The Other Shoe: The Music Of Gregg Hill
By Jerome Wilson
April 14, 2023
Gregg Hill is a jazz composer favored by several jazz musicians who have recorded entire albums of his work, such as guitarist Randy Napoleon and bassist Rodney Whitaker. Here trombonist Michael Dease joins the party with a full album of Hill pieces arranged for a quintet. Hill's writing on this album delves into a wide array of conventional forms such as blues, ballads, and Latin jazz, but always with unique twists and ideas present. Some of his compositions sound akin to the early small-group recordings of George Russell. Dease gives these tunes a special atmosphere by using a front line of his trombone and the clarinet of Virginia MacDonald, bringing distinctive high-low harmonies into the music. The two lead instruments blend together especially well on the tempo-shifting conversations of "Scooter's Dream," the serpentine intricacy of "The Sleeper" and the mournful blues roll of "Hello, Blues." The piano duties in the band are split between Geoff Keezer and Luther Allison, each contributing their own style. Keezer often decorates the melodies, bringing a classy flourish to "Scooter's Dream," bouncing to a ragtime beat on "Wake Up Call" and elaborating the dramatic tone of "The Classic" behind Dease's and MacDonald's weeping interplay. Allison's contributions include honky-tonkish stride piano on "The Goodbye Blues," and rippling free runs which add a sinister tone to the melancholy "Summer Nights." Bassist Liany Mateo and drummer Colleen Clark are very adept at filling in the shifting accents and underlying rhythms which keep this music afloat. Mateo even gets an occasional solo of note, including a strutting turn on "Goodbye Blues." Other highlights include the polished Duke Ellington-like glide of "Shorty's Tune," where MacDonald sounds as urbane as Jimmy Hamilton and Mateo takes an elegant solo, and the rocking Latin groove of "Rio Mio" with Dease stepping out on baritone sax as well as trombone. Then there is the real surprise, "The Other Shoe" itself. This is a 15-minute work where Allison's trembling electric piano is set against pulsing bass and drums and brooding trombone, clarinet, and baritone lines. The music is reminiscent of Miles Davis' earliest electronic experiments. The instruments weave in and out of each other ominously and everyone gets a chance to stretch out, including drummer Clark. The music on this album consistently finds new ways of working within the parameters of conventional jazz composition. Gregg Hill's fascinating writing is brought to life beautifully by Michael Dease's arranging, and the playing of an excellent band The end result is one of the best albums of the year so far.
