Dave Sharp WORLDS Quartet & Elden Kelly: Catalyst: The Music of Gregg Hill Review

by Steven Miller

Catalyst: The Music of Gregg Hill is a striking testament to the adaptability of Hill’s compositions, illustrating how his works can be reinterpreted and transformed when placed in the hands of a visionary ensemble, resulting in a very enjoyable world music album. The album marks a departure from the straight-ahead jazz settings that Hill’s music has historically inhabited. Hill’s compositions have long been fixtures in jazz contexts. However, on Catalyst, the Dave Sharp Worlds Quartet, under the direction of bassist Dave Sharp and with arrangements from Elden Kelly, takes Hill’s music into a striking world music realm.

The project seamlessly weaves together global jazz with a vast array of global musical traditions, from Middle Eastern maqams to African rhythms, creating a genre-defying sound that blurs the boundaries between genres while holding connectivity through composition and improvisation. The album’s arrangements, the ensemble’s remarkable interplay, and how each musician contributes to this reimagining of Hill’s work make for an impressive listen.

Elden Kelly’s role as arranger and co-composer finds him orienting Hill’s compositions, layering new sections, and introducing distinctive rhythmic changes. Kelly’s unique vision provided the bridge between Hill’s original jazz structures and the multi-genre palette of the Worlds Quartet. His arrangements integrate global influences, such as the use of Middle Eastern modes, Indian tal (rhythmic cycles), and African polyrhythms, creating a vibrant, cinematic flow.

An essential aspect of Kelly’s approach is his collaboration with Sharp, which allows for the organic fusion of their ideas. The band’s interpretations of Hill’s tunes take on new life with the successful synthesis of musical cultures by Kelly’s understanding of both Hill’s compositions and global music.

Each track on Catalyst showcases the band’s formidable skills and interpretation of Hill’s compositions. “Traveling with Gregg,” the opening track, has a syncopated groove that recalls the Indo-jazz fusion style. Over a driving 7-beat cycle, the ensemble’s rhythmic cohesion is evident as Sharp’s bass locks in with percussionist Mike List’s patterns, while violin, oud, and guitar trade phrases in a call-and-response manner. The track is a perfect example of the quartet’s ability to blend improvisation with global rhythmic sensibilities.

“Rue de Royal,” inspired by New Orleans jazz, is reimagined through a mix of Mixolydian and Magyar modes, with a 6/8 rhythmic world groove. The fusion of New Orleans influences with Hungarian Roma stylistic elements, especially the oud and violin, results in a compelling and unique sound. The composition’s structural strength manages this masterfully, making the fusion feel organic.

Featuring another world music rhythmic structure, “13th Century Lion” is set in a meter of 5/4, which the band interprets with a rhythmic flexibility that allows the music to flow effortlessly. The piece shifts in modes as the ensemble performs with a technical precision that is engaging and alluring. The rhythm makes the mood upbeat and playful, illustrating the band’s ability to infuse energy into time signatures. The big chordal statement for the cadence also offers a varied feel and orchestration.

Perhaps the most romantic piece on the album, “Ducks Night Out” is a mini-suite that takes the listener through a series of stylistic shifts, from a Middle Eastern belly-dance rhythm to a straight-ahead swing, and even to an afro-funk interlude. The track showcases the band’s ability to navigate multiple genres within a single piece, with Sharp’s bass providing the anchor for these transitions. The improvisatory solos, ranging from Karapetyan’s gypsy jazz to funk, demonstrate the group’s remarkable versatility and skill.

The title track, “Catalyst,” introduces a hypnotic groove within a 5/4 time signature, creating a syncopated channel that feels both good and sounds alluringly exotic. The band expertly navigates the different parts of the composition while maintaining the world groove. Sharp’s and List’s rhythmic precision allows the music to flow naturally. Kelly’s guitar adds a rich texture to the piece. Karapetyan and Hauwat both perform solos that accent the world feel and have delightful melodic flow and color.

“Savana” is a striking example of the ensemble’s ability to balance rhythms with lyrical melody. Drawing on West African rhythms, List’s percussion work incorporates a 6/8 pattern, while Sharp’s bass creates an expansive soundscape that evokes the world fusion grounding for the group. Houwat’s oud solo is amazing. Kelly’s fretless guitar adds a new texture. Karapetyan’s violin is impressive with its flow and emotive expression that will entertain and awe.

The success of Catalyst lies in the well-written compositions and the individual contributions of each member of the ensemble. Their ability to adapt to and enhance each composition is what makes the album so compelling.

As both bassist and artistic director, Sharp anchors the ensemble with his deep understanding of global music; his bass lines range from modal drones to walking swing, showcasing his versatility. His leadership ensures the band’s fusion of styles is cohesive and organic, never forced.

A multi-instrumentalist with a broad technical range, Kelly’s contributions on various guitars and guitar synth are masterful. He weaves harmonic textures and melodic lines, adapting his technique to each piece’s cultural context, from flamenco-inspired flourishes to jazz bebop lines. His arrangement work melds with Hill’s compositions, giving them a new life while respecting their original spirit.

Karapetyan’s violin is the voice that often carries the emotional weight of the music. His ability to transition between the various world music styles allows him to fully embody the varied influences present on the album. His technical agility is lyrical, sensitive, and adds depth to the quartet’s sound.

The oud’s inclusion adds an essential timbral layer to the album’s fusion of cultures. Houwat’s ability to blend traditional oud phrasing with improvisations that feature percussive picking and exotic-hued modes is always a treat.  His solos on tracks like “Rue de Royal,” “Savana,” and “13th Century Lion” showcase his fluency in both jazz and Middle Eastern idioms.

As the percussionist, List’s contribution is critical to the album’s rhythmic current. His knowledge of Indian, Middle Eastern, and African percussion traditions allows him to create textures that complement and enhance the global elements of the music. His command of instruments like tabla, darbouka, and frame drums provides the rhythmic glue that holds the ensemble’s diverse influences together. His solo on “The Stray Moonduck” is very inspiring.

Catalyst: The Music of Gregg Hill stands as a powerful example of how innovative arranging and top-tier musicianship can transform a set of jazz compositions into a genre-defying world music masterpiece. Catalyst: The Music of Gregg Hill offers a successful fusion of tradition and innovation, making it a must-listen for anyone interested in the intersection of jazz and world music.