Lisa Hilton, Extended Daydream Review

Lisa Hilton: Extended Daydreams Creating a Feeling

By Ferell Aubre

Extended Daydream is Lisa Hilton making a record built on trust, trust in melody, trust in time, and trust in the power of an ensemble that knows how to listen. Rather than leaning on overt high-octane tempos and dense improvisations, Hilton leads her quintet through a set of music that values pacing, tone over tension, and ensemble feel over individual display.

At its core, Extended Daydream is a study in how a pianist and composer can influence the entire emotional climate of a jazz record without ever dominating it. Hilton’s piano playing is textured, warm, and deliberately unflashy. Hilton’s playing exerts a constant gravitational pull that centers each of the selections. Her voicings open space for the horns to express, her rhythmic placement nudges the groove forward without forcing it, and her presence allows her compositions to unfold like well-paced conversations.

That sense of balance is immediately evident on the album’s opening track, Miles Davis’ “So What.” Hilton treats the modal classic as an opportunity to build on the original recording. Her playing is grounded in the cool jazz vocabulary with today’s hues. JD Allen on tenor saxophone and Igmar Thomas on trumpet deliver solos that feel relaxed and conversational, shaped as much by Hilton’s harmonic restraint as by their own phrasing. It’s cool jazz with modern posture, confident enough to leave space unfilled.

Hilton’s influence as a composer becomes more pronounced on “Momentary Mystery,” a medium-tempo swing that snaps gently with a memorable melody. Her chordal movement and voice leading set the tone, giving Allen and Thomas a harmonic landscape that invites interplay. Luques Curtis’s bass anchors the track with exceptional feel and tone, while Rudy Royston’s drumming adds just enough edge to keep the groove from settling into comfort. The result is music that swings with a feel that is deeply rooted and alive.

The title track, “Extended Daydream,” is a light contemporary jazz compositions that blends folk and subtle rock inflections, creating a melodic statement that is open and inviting. Hilton’s solo is especially revealing in her pacing of thematic and story-driven phrases. She allows the narrative to unfold naturally, trusting the ensemble to follow her cues. It’s leadership by example, shaping direction and mood without dictating motion.

That compositional clarity continues on “Tropical Tuesday,” where a Latin rhythm provides buoyancy and warmth. Curtis’s bass takes on a more prominent role, and the percussion elements enhance the sense of motion without overwhelming the texture. The combined horn passages add a playful dimension, while Hilton’s piano remains the mood architect, guiding transitions and maintaining balance. Even in moments of celebration, the music never loses its sense of proportion.

“It’s Just for Now” deepens that Latin-based feel while showcasing Hilton’s gift for melodic gems. Modal colors widen the harmonic palette, and the horn parts are thoughtfully voiced, interacting fluidly with the rhythm section. Hilton’s solo avoids excess, staying focused on line, touch, and mood.

One of the album’s most engaging moments comes with “Here & There & Back & Forth,” a cleverly structured collage of jazz references across eras. Beginning in a 6/8 groove with echoes of the boogaloo era, the piece shifts seamlessly into cool jazz and hard-bop territory. Each transition feels intentional and well-defined, a testament to Hilton’s arranging skill and the band’s collective awareness. The soloists adapt effortlessly to the changing terrain, reinforcing the sense that this is a group deeply attuned to one another.

“Blues on the Beach” introduces a more reflective tone, shaped by Hilton’s recent experiences in California. What begins as a blues-inflected ballad gradually evolves into a funk-tinged jazz groove, with Hilton channeling a subtle Horace Silver influence without imitation. The combined trumpet and saxophone solos are expressive and grounded, and the ensemble interlude highlights the band’s cohesion, a shared pulse guiding every turn.

The reflective mood deepens on “Seabirds,” where Hilton’s piano opens with a delicate arpeggiated figure supporting a simple, lyrical melody. The pentatonic focus adds an introspective quality that feels both somber and hopeful. Here, Hilton’s role as mood-setter is unmistakable; the entire piece seems to grow outward from her touch at the keyboard.

“Wildflower,” a reimagining of the Billie Eilish and Finneas O’Connell song, is handled with remarkable sensitivity. Igmar Thomas’s muted trumpet conveys the melody with emotion, while the steady folk-jazz-rock pulse allows the arrangement to unfold gradually. Hilton’s piano once again serves as the emotional anchor, establishing a mood that the ensemble builds upon with care and restraint.

“Sunset Tale” offers a gentle lift, driven by an optimistic, nature-inspired feel and a pop-jazz sensibility. In a trio setting, Hilton leads with catchy melodic ideas and smooth transitions, her impressionistic harmonies lending the piece a subtle European jazz color. It’s another reminder of her strength as a composer who understands flow as much as form.

The album closes with “Spacious Skies,” a solo piano piece that invites quiet contemplation. Drawing on classical and impressionistic influences long associated with Bill Evans, Hilton adds contemporary harmonic colors and a light, deliberate touch. Each phrase is constructed with purposeful design to extend the album’s narrative of space, reflection, and time. It’s a fitting conclusion.

Extended Daydream is a record that rewards close listening. Lisa Hilton’s influence is everywhere, not through dominance, but through design and in the way her piano makes the grooves feel, the way melodies unfold, and the way the band moves as a single organism. This is cool jazz reframed for the present moment. It doesn’t chase attention. It earns it, one measured phrase at a time.