Randy Hoexter, Tomorrowsville Review

Randy Hoexter’s Tomorrowsville: Writing A Modern Jazz Scene

by Ferell Aubre

Randy Hoexter’s Tomorrowsville emerges as an impressively structured modern jazz statement, offering a vibrant tapestry of compositional brilliance and ensemble interplay. Positioned as an architecturally meticulous project, Hoexter demonstrates exceptional skill in bridging diverse jazz traditions—from fusion grooves and Latin rhythms to cinematic balladry—into a cohesive musical narrative. Each of the album’s eleven tracks highlights Hoexter’s deliberate planning, rhythmic innovation, stylistic fluency, and clear orchestration, resulting in an expressive and logical musical journey.

Atlanta-based Hoexter, known for his educational and performance roles, brings together a stellar ensemble anchored by bassist Jimmy Haslip, drummer John David, percussionist Emrah Kotan, and reed player Sam Skelton. Complemented by guests Mike Stern (guitar), Gordon Vernick (trumpet), Eric Alexander (trombone), and Roberta Setzu (vocals), the lineup executes Hoexter’s sophisticated arrangements with precision and dynamism.

The opening track, “Rosetta Stone,” sets the album’s intellectual yet accessible tone, gracefully unfolding in 5/8, where rhythmic cells and harmonic shifts seamlessly align. Here, the ensemble interacts conversationally, guided expertly by Haslip’s cohesive bass lines. The title track, “Tomorrowsville,” further showcases Hoexter’s affinity for layered rhythms and motivic integrity. Haslip, David, and Kotan drive the lively Latin pulse, giving Vernick’s trumpet and Hoexter’s piano solos ample room to explore thematic material within clearly defined, spacious textures.

“Phosphenes” contrasts beautifully, beginning introspectively with solo piano before blossoming into a lush modal canvas, painted with nuanced horn orchestrations. The organic and unpredictable melodic contours recall visual shapes glimpsed behind closed eyes, further enriched by Skelton’s lyrical tenor and Hoexter’s understated yet vividly expressive piano.

A notable highlight is “Argentum (For Horace),” a tribute that confidently melds Horace Silver’s Latin-rock and gospel influences into Hoexter’s unique voice. The tightly executed shout chorus evokes big band precision within an intimate quintet framework, with Hoexter’s solo deftly bridging hard bop articulation and contemporary phrasing.

“Sonate,” a solo piano miniature, reflects Hoexter’s classical sensibilities, blending impressionist harmonies with sophisticated left-right hand dialogues reminiscent of theme-and-variation forms. It provides a revealing glimpse into his pianistic clarity and compositional subtlety.

Tracks like “The Wine-Dark Sea,” featuring vocalist Setzu, display Hoexter’s ability to evoke deep emotional resonance through controlled harmonic pacing and atmospheric orchestration. Conversely, “Particle Accelerator” embodies kinetic intensity, built on staccato bursts and dynamic solo passages that mirror physical acceleration and tension-release interplay.

“Diaspora” showcases sophisticated polyrhythmic layering in 7/4, creating a delicate interplay between percussion and bass, while “Evening Comes Early” offers reflective storytelling through shifting meters and harmonic richness, notably enhanced by Stern’s emotionally resonant guitar solo.

“The Dragonfly” captures aerial agility, its arrangement balancing forward propulsion with rhythmic buoyancy, complemented beautifully by Stern’s melodic clarity. The cinematic “In Bright October” fittingly closes the album, employing developmental form and contrapuntal exchanges that culminate in an evocative, open-ended finale.

Throughout Tomorrowsville, Hoexter demonstrates an exceptional gift for arrangement and compositional clarity, turning technical complexity into accessible and emotionally compelling music. This album stands as a testament to his vision, showcasing how modern jazz can thrive under a composer who blends form, creativity, and disciplined musicianship into a unified, deeply expressive whole.