Michael Dease, Found in Space: The Music of Gregg Hill Review

Found in Space: The Music of Gregg Hill Represents the Power of Collaboration

by Nolan DeBuke

In the vast cosmos of jazz, some stars burn with a peculiar brilliance, their light flickering in patterns that challenge conventional rhythms and harmonies. Michael Dease’s Found in Space: The Music of Gregg Hill is an album that explores this astral territory, guided by Gregg Hill’s compositions. Released by Origin Records on September 20, 2024, this project is a tribute to Hill’s intricate, genre-defying work, showcasing Dease’s extraordinary musicianship and the formidable talents of his ensemble.

From the outset, the album title, a clever nod to the ’60s sci-fi show Lost in Space, hints at the otherworldly nature of Hill’s music. It’s a fitting metaphor for a composer whose work traverses galaxies of sound, from the angular, Zappa-esque twists of “The Last Pop Tune” to the lush, cinematic landscapes of “Found in Space.” Hill’s compositions are as complex as they are captivating, demanding technical finesse from the ensemble and a deep understanding of the underlying musical architecture. Here, Dease and his ensemble prove more than up for the task.

Each track on this album presents a new perspective of Hill’s distinctive compositional style—a blend of 20th-century classical, jazz, rock, and avant-garde elements that coalesce into something wholly original. The opener, “The Last Pop Tune,” arranged by trumpeter Matt White, features shifting time signatures and mesmerizing counterpoint. Dease performs on the trombone and baritone saxophone shines here, navigating the tune’s labyrinthine structure with a keen focus on groove and melody, while White, Bill Cunliffe on piano, and Sharel Cassity on flute deliver solos that are as inventive as they are expressive.

The “Found in Space” title track further underscores Hill’s exploratory spirit. With its contrapuntal interplay and Rhodes motifs, Cunliffe’s arrangement provides the perfect orchestration to Hill’s compositional framework. The melodies and chord changes balance classical and jazz sonorities, but with surprises in their directional flow. This harmonic structure acts as a launchpad for Dease’s baritone saxophone solo, supported by excellent background figures from the ensemble. White’s trumpet solo adds a fiery edge to the proceedings, buzzing with intensity and inspiring intervals. Rudresh Mahanthappa’s alto saxophone takes flight, launching the energy to a beautiful swing feel by drummer Colleen Clark and bassist Katie Thiroux. Cunliffe’s motivic-driven Fender Rhodes solo rounds out the solo section before returning to the original theme. The ensemble’s chemistry is palpable throughout, with each musician contributing to the unfolding narrative.

“One for Rodney,” a tribute to bassist Rodney Whitaker, offers a different kind of journey—one grounded in swing and steeped in blues. The composition has a delightful flow of contrasts of feels and instrumental colors. The compositions mix of third stream and bebop-styled jazz will remind one of Charles Mingus’ unique compositional style, all hues in the blues, too. Thiroux takes center stage, and her solo is expressive with melodic invention and rhythmic drive. The trading of solo ideas between Mahanthappa and Cassity on alto saxophones is exhilarating.

Dease’s trombone work is at its most emotive on “The Stray Moonduck,” a piece that pairs him with fellow trombonist Nanami Haruta. Their interplay, reminiscent of the great J.J. Johnson and Kai Winding collaborations, reflects Dease’s more straight-ahead style and adds a blues nuance that he is known for. Cassity’s warm flute pairs beautifully with the expressive blues quality of Dease’s melody as the ensemble supports him with a wide range of colors and contrapuntal textures. Tenor saxophonist Jason Hainsworth performs a robust solo to put the icing on the cake for this outstanding composition and ensemble performance.

“The Puppet Thief” has a big-band swagger and reveals itself as another standout composition and performance. Thiroux’s bass solo and Cunliffe’s Rhodes explorations drive the tune forward with a sense of urgency, while Cassity flute soars over the ensemble like a bird in flight. Hainsworth’s tenor saxophone brings a powerful presence to the track, his statements imbued with a sense of modern jazz narrative that complements the composition’s multi-genre scope.

“Rue de Royal,” arranged by Hainsworth, has a traditional influence and transports listeners to the streets of New Orleans. Clark’s drumming lays down a syncopated second-line groove that propels the ensemble into a spirited exchange. Dease’s baritone saxophone and White’s trumpet continue the New Orleans theme as they engage in a lively dialogue, while Mahanthappa’s alto saxophone adds a layer of modern cajon heat.

Throughout  Found in Space: The Music of Gregg Hill, Dease’s ensemble plays with a rare combination of flawless execution and an emotional depth that can be felt in their playing. Gwendolyn Dease’s marimba work on “Chillin’ with Wess,” a nod to Zappa’s adventurous spirit, evokes the contributions of Ruth Underwood in Zappa’s bands. The interplay between Haruta’s trombone and Hainsworth’s tenor saxophone is robust and engaging, their rapid-fire exchanges creating a tension that is playful and musically profound.

The relaxed swing of “Anthem” and the buoyant bossa nova feel of “Nostalgia” further reveal Hill’s inventive compositional style within a more traditional jazz framework. “Anthem” showcases Dease’s energy on the baritone sax, delivering a rich, resonant tone that builds to a fine musical statement. The tune’s brooding atmosphere is punctuated by MacDonald’s expressive clarinet solo and Mahanthappa’s sizzling alto saxophone, each solo leaning into the composition’s mood and color.

Meanwhile, “Nostalgia” captures a lighter, more melodic side of Hill’s writing, with a Brazilian groove that features the ensemble’s ability to play with precision and warmth. Cassity’s flute soars above the intricate rhythms laid down by Clark’s drums and Thiroux’s bass, while Cunliffe’s piano provides a sparkling counterpoint. The solos here are memorable; they’re imbued with a sense of playfulness and creativity that makes Hill’s music fresh and timeless. The overall impact of these performances is impressive, underscoring the ensemble’s cohesion and Hill’s ability to craft compositions that are engaging and evocative to the musicians and the listener.

The album closes with “A Wrinkle in Time,” a suite-like piece that encapsulates the album’s themes of exploration and discovery. The free ensemble sections build the energy to the rich written parts. Each of the front-line brass, woodwinds and reeds get a moment in the spotlight, each delivering a wonderful solo statement. Dease’s extended trombone solo shows his ability to be a storyteller through music, his phrases weaving through the composition’s harmonic characters with motivic confidence and impressive agility on the trombone.

Found in Space: The Music of Gregg Hill shows Hill’s compositional genius and Michael Dease’s abilities as a performer and ensemble leader. The arrangements of Hill’s compositions by the various ensemble members capture the essence of a composer whose work defies easy categorization. Each selection is brought to life by an ensemble that understands and elevates his vision. This project represents the power of collaboration and is a celebration of the unique musical voice of Gregg Hill. It’s an invitation to get lost in space—only to find something truly extraordinary.