
Rodney Whitaker, Mosaic: The Music of Gregg Hill Review
Mosaic: Gregg Hill’s Expansive Vision and Jazz’s Boundless Horizons
by Nolan DeBuke
Rodney Whitaker’s latest release, Mosaic: The Music of Gregg Hill, is a set of ten well-written and arranged compositions reflecting jazz’s past while forging into fresh directions. At the heart of the album lies Whitaker’s deep connection to Hill’s compositions, which serve as a canvas for exploring jazz’s rich lineage and its potential mix with modern classical and elements of popular music from the seventies. This fourth collaboration between Whitaker and Hill is thoughtful in its orchestrations as it dynamically explores influence from a wide set of rhythms and melodies, but all grounded in the interplay of swing.
The pulse of Mosaic: The Music of Gregg Hill lies in the compositions and the extraordinary talents of the musicians who bring them to life. Anchored by Rodney Whitaker’s commanding bass and visionary arrangements, the ensemble features an illustrious lineup: Terell Stafford on trumpet and flügelhorn, Tim Warfield on tenor and soprano saxophones, Rick Roe on piano, and Dana Hall on drums. Rockelle Whitaker adds warmth and emotional resonance to four selections, especially “Unknown Ballade” and “Stargazer.” Recorded, mixed, and mastered by Eric Wojahn at Solid Sound Recording Co. in Ann Arbor, Michigan, the album captures the meticulous writing and compelling musicianship.
Hill’s compositions serve as a nexus where jazz’s illustrious past converges with its dynamic present. Tracks like “Ray-Dias” evoke the spirit of 1960s boogaloo grooves, conjuring an inspired performance by the ensemble. Similarly, “Still Life with Tuba” integrates through-composition techniques to create a deeply expressive sonic narrative. Whitaker’s arrangement amplifies this, drawing on the ensemble’s ability to craft large, expressive textures that feel simultaneously structured and spontaneous. In Hill’s hands, these influences are transformed into fresh, idiosyncratic dialogues that the ensemble carries with precision and depth.
Starting the album with “Mosaic” effectively sets the stage for Hill’s broader compositional style, drawing attention to its significance within the album’s narrative. “Mosaic” exemplifies Hill’s classical-meets-fusion style, opening with a prelude that mirrors modern classical precision before transitioning into a second theme driven by swinging jazz rhythms. The interlude in “Mosaic,” leading seamlessly to Whitaker’s solo, melds these classical and jazz elements, tying the piece’s dual influences to the broader themes of the album. This stirring composer’s solo section reflects Hill’s ingenuity and highlights the ensemble’s musicianship. This reflects Hill’s overall balance between historical reverence and innovative exploration.
Whitaker’s arrangement amplifies this, drawing on the ensemble’s palette to craft large, expressive textures that define the structure and leave room for the spontaneous. The combination of Hill’s writing and Whitaker’s arranging influences is heightened by the comradery among the ensemble members. This overall chemistry is the cornerstone as each song is transformed into fresh, idiosyncratic dialogues that the ensemble carries with precision and depth. These moments exemplify how Mosaic roots itself in history while creating pathways for wider explorations.
The album’s thematic richness is matched by the ensemble’s musical and interactive resonance. On “Moonscape,” Rockelle Whitaker’s vocals soar with jubilant authority, navigating Hill’s dynamic intervals with a blend of passion and control. This track exemplifies the album’s adventurous spirit, as it transitions seamlessly between 6/8, 12/8, and 4/4 rhythms, creating a modern jazz texture that speak to Hill’s innovative approach to composition, with rhythms playing a central role in creating emotive settings.
Other tracks, such as “Sloe Gin Fizz,” offer a setting of joyous swing intensity. The ensemble’s solo work here is a highlight, showcasing their ability to convey a powerful jazz narrative through Hill’s interesting chord progression. The interplay between Roe’s piano and the rhythm section elevates the track further, capturing the essence of interactive improvisation. Meanwhile, the gospel-influenced swing of “Sunday Special” brings the album to a triumphant close, embodying the soulful essence of Detroit’s rich jazz legacy. Hill’s composition not only captures the nuances of jazz style but also reflects the subtle social influences shaped by regional traditions, adding depth and authenticity to the piece.
Rooted in Michigan’s vibrant jazz tradition, Mosaic: The Music of Gregg Hillreflects the philosophical and rhythmic influence of the region’s musical heritage. Hill and Whitaker have crafted a sound that is unmistakably their own, blending and creating a vernacular that sounds of the richness of Michigan’s jazz sound. As a professor of jazz bass and director of jazz studies at Michigan State University, Whitaker has played a pivotal role in fostering a thriving jazz community, connecting the past to the future through his mentorship and performances. This regional identity not only informs the music’s authenticity but also serves as a platform for exploring the universal language of jazz.
Mosaic: The Music of Gregg Hill is another example of how Hill’s compositional style reaches far beyond the ordinary, weaving together influences that reflect the subtle social currents of jazz’s regional roots and its ever-evolving influences upon its identity. His ability to balance intricate, note-specific melodies with expansive, chordal frameworks creates a dynamic platform for exploration through improvisation. The dichotomy inspires Whitaker and his ensemble to delve into each piece with passion and precision. Mosaic: The Music of Gregg Hill is an album that explores the powerful combination of composition and collaboration. It is a celebration that offers listeners a chance to journey through its layered artistry to witness its sonic treasures.
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