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

by Steven Miller

Found in Space: The Music of Gregg Hill buzzes with the power of collaboration, diversity, and the timeless appeal of jazz as a genre that thrives on collective energy. Trombonist and bandleader Michael Dease, known for his reverence for jazz history and his formidable technique, brings together a stellar group of musicians from different backgrounds, ages, and experiences. This project, guided by the intricate, genre-defying compositions of Gregg Hill, serves as a platform for Dease’s belief that ensembles are at their best when they embrace diversity—racially, gender-wise, and generationally.

Dease obviously believes that musicians play better when put in a setting of different backgrounds and experiences. This philosophy perfectly aligns with Hill’s multi-genre approach to composition, which requires technical mastery and the distinct input of each player. The youthful energy of Nanami Haruta’s sensitive trombone work on “The Stray Moonduck” contrasts beautifully with Dease’s more assertive approach, while the seasoned wisdom of Bill Cunliffe, both in his playing and arranging on the title track “Found in Space,” adds depth to the ensemble’s dynamic. Together, they thrive on the richness of their diverse perspectives, creating a space where musical conversations are constantly enriched by the variety of voices in the room through Hill’s organized musical setting.

The dynamic range of these voices is essential to capturing Hill’s vision. In tracks like “The Last Pop Tune,” arranged by trumpeter Matt White, the shifting time signatures are a metaphor for the adaptability required of the ensemble—a musical dance that crosses generational lines, with each musician contributing their own perspective to Hill’s playful and intensely intricate composition. Dease’s commitment to honoring Hill’s material while allowing the band to add their own flourishes showcases his respect for the composer’s voice, even as the ensemble stretches the boundaries of these compositions.

Hill’s music is rooted in a rich tradition, but it’s far from rigid. His tunes are full of surprises, with open spaces for exploration and improvisation. In “The Puppet Thief,” Cunliffe’s arrangement of Hill’s composition is the perfect vehicle for this exploration, with its contrapuntal interplay between instruments reflecting Hill’s ability to blend classical and big band jazz. Dease’s choice to feature two-thirds of the rhythm section as female—Katie Thiroux on bass and Colleen Clark on drums—adds to the chemistry and cohesion of the ensemble. Thiroux’s bass playing, grounded in rhythmic precision, provides a strong foundation that allows the ensemble to flow effortlessly through Hill’s rhythmic intricacies. To further enrich the sound on this track, Gwendolyn Dease’s percussion adds another layer of diversity to the sound.

“Rue de Royal” takes a detour into New Orleans, where Clark’s second-line drumming drives the syncopated rhythms that give the track its lively, street-parade feel. Dease’s baritone sax and White’s trumpet engage in a spirited conversation, with Mahanthappa’s alto saxophone adding a modern jazz edge. The interplay between the horns brings a playful vibrancy to Hill’s composition, as the rhythm section provides a steady groove that invites improvisation without losing the traditional New Orleans flavor.

After an attention-grabbing intro and catchy riff-based melody, “Nostalgia” offers another feel and melodic side of Hill’s writing. The track’s straight-eight grooves morph into a Brazilian pattern that gives the ensemble a chance to relax in a new setting in space. Cassity’s flute digs into the feel of the rhythm section with a melodic ingenuity, while Thiroux and Clark lay down a rhythm that captures the essence of bossa nova, but with a modern groove. This piece highlights Hill’s incorporation of global influences into his compositions, creating a sense of warmth and openness that naturally flows with the other tracks on the album.

“Chillin’ with Wess” is a fine example of Hill’s compositional style, which builds on classical and jazz. The subtle changes in feel and the harmonic progression marry these two genres, forming a union ripe with opportunities for the musicians to explore. Jason Hainsworth’s tenor saxophone and Haruta’s trombone exchange outstanding improvisational statements. Dease’s decision to include a second voice in the trombone section adds further color and energy to the ensemble’s sound. Virginia MacDonald’s clarinet solo further elevates the track, her fluid and expressive playing adding warmth and a lyrical quality that contrasts beautifully with the brass and woodwinds, further highlighting the ensemble’s versatility and Hill’s multi-layered compositions. Gwendolyn’s marimba work introduces a layer of texture and rhythmic accents to the ensemble.

In “One for Rodney,” the interplay between Rudresh Mahanthappa and Sharel Cassity creates a dynamic and diverse improvisational experience for the listener. Mahanthappa, known for his innovative fusion of South Indian classical music with jazz, brings a fiery, complex approach to his solos, which are marked by intricate rhythmic patterns and rapid, fluid phrasing. Cassity, on alto saxophone for this track, has a more traditional jazz foundation with influences rooted in bebop and swing, yet she brings a contemporary freshness to her playing. Their contrasting yet complementary styles form a rich sound, with Mahanthappa’s angular improvisations balanced by Cassity’s lyrical, soulful lines. Dease’s decision to feature a male and female alto saxophonist on this track mirrors his pairing with Nanami Haruta on trombone—a deliberate choice that reflects his belief in the power of diversity. By showcasing players of different genders, Dease highlights their individual strengths while underscoring the broader idea that musical collaboration thrives when different voices and perspectives are given space to interact. The result is a conversation between the saxophones that feels intellectually stimulating and emotionally engaging, mirroring Hill’s composition, which invites exploration and interplay between tradition and innovation.

The overarching success of the project lies in the accessibility of Hill’s melodies, which often turn into “earworms” that linger long after listening. This quality connects Hill’s work to a broader tradition of jazz riff music, harkening back to the territory bands of the bebop and fusion eras. Tracks like “Found In Space,” where each section strikes a delicate balance between counterpoint and melodic fluidity, while maintaining a seamless harmonic interplay, exemplify how Hill’s compositions navigate the line between modernization and tradition. The written sections feature multiple feel changes and dynamic shifts, showcasing Hill’s versatility as a composer. The rhythmic drive and melodic invention speak to the ensemble’s technical expertise and their ability to convey Hill’s material while their individual brilliance shines within his imaginative framework.

In “The Stray Moonduck,” the theme of collaboration takes center stage, with a generational exchange that adds depth to the performance. Inspired by the legendary trombonists J.J. Johnson and Kai Winding, Dease shares the stage with Nanami Haruta in a duet that highlights their contrasting styles while showcasing the power of partnership. Dease’s bold, blues-infused tone contrasts Haruta’s more nuanced approach, creating a dynamic and stimulating dialogue. This interaction mirrors the open-mindedness of Hill’s writing but also embodies the collaborative spirit that runs throughout the album—where seasoned veterans and young talents come together to explore, challenge, and elevate the music. Hill’s composition, with its open space for improvisation, invites this kind of creative exchange, allowing the musicians to complement and inspire one another in a way that deepens the listening experience.

As the album closes with “A Wrinkle in Time,” we are reminded that Hill’s compositions, like the musicians who bring them to life, are always in motion, constantly evolving through collaboration. The piece features a seamless blend of free ensemble sections and carefully crafted written passages that draw from multiple genres and rhythmic feels, illustrating Hill’s unique ability to foster both structure and spontaneity. Hill’s composition is designed to give each musician their moment to shine, but the collective interplay—where individual voices merge into a unified conversation—truly defines the track. Dease’s extended trombone solo encapsulates this sense of movement and dialogue as he weaves gracefully through Hill’s harmonic intervals, telling a story that connects the player to the composition and the musician to the listener. It’s a fitting conclusion to an album that not only celebrates the diversity of its players but also thrives on the rich exchange of ideas and the collaborative spirit that makes Hill’s music so engaging.

Found in Space: The Music of Gregg Hill is the next documentation of Gregg Hill’s compositional genius through Michael Dease’s vision of what jazz can be when it fully embraces collaboration. By assembling a group of musicians who reflect the full spectrum of jazz’s rich history—past, present, and future—Dease has created an album that honors the genre’s traditions while pushing into exciting territory. In Dease’s hands, Hill’s music becomes a vehicle for something greater than just notes on a page; it becomes a conversation across generations, backgrounds, and experiences, where every voice is heard, and every tone has something to say.