Rick Roe : Tribute: The Music of Gregg Hill Review

by Steven Miller

Adding to his ever-expanding canon of contemporary jazz compositions, Gregg Hill’s work continues to captivate discerning musicians and listeners alike. Pianist Rick Roe’s latest offering, Tribute: The Music of Gregg Hill, released by Cold Plunge Records, underscores Hill’s distinctive compositional brilliance, interpreted through a compelling trio setting. Alongside bassist Robert Hurst and drummer Nate Winn, Roe approaches Hill’s repertoire with profound sensitivity, celebrating its inherent versatility and emotional understanding of styles.

Roe’s thoughtful arrangements serve as a dynamic conversation between composer and performers. The album confidently navigates diverse moods and stylistic shifts ranging from energetic bebop-inflected excursions like “Elden’s Bop” to the blues-driven narrative of “Ducks Night Out” and the introspective tranquility found in “Sunday Special.” Roe imbues each piece with a soulful immediacy, marked by a distinctly hard-bop-rooted piano style that remains fresh and compelling as it always has a tinge of the blues, as all great hard-bop does.

Hurst, a seven-time Grammy-winning bassist, anchors the trio with authoritative yet subtle harmonic clarity, providing a deep foundational resonance. His lyrical solos, especially notable on track “Julie’s Tune,” which showcases his arco soloing, and “Floating Candles, which showcases his pizzicato technical mastery and expressive nuance. Drummer Nate Winn complements this interplay with remarkable agility, bringing rhythmic sophistication and textural variation that elevate compositions such as “Mr. Pea,” where his lively dynamics energize Roe’s vibrant keyboard explorations. “Soul Element” displays his graceful swing feel.

The trio’s collective chemistry emerges vividly in their fluid improvisational dialogues, illuminating Hill’s inspiring compositional language. Roe’s reworkings offer a fresh lens through which to experience Hill’s unique blend of traditional and contemporary jazz idioms. Tracks like “Elden’s Bop,” with its shift from a spirited waltz into a swinging 4/4 groove, epitomize the trio’s seamless integration and adept responsiveness to Hill’s rhythmic complexities.

Significantly, Tribute: The Music of Gregg Hill situates itself within a broader cultural appreciation of Gregg Hill’s compositions, echoing the substantial acclaim his work has received in recent years through recordings by Rodney Whitaker, Michael Dease, and Randy Napoleon. Roe’s interpretations provide a compelling exploration of Hill’s tunes in an acoustic trio format. The result is an ideal vehicle for Hill’s refined harmonic structures and melodically engaging themes. The trio’s interpretations have a prevailing sentiment that underscores the trio’s craftsmanship and meticulous attention to detail. Roe, Hurst, and Winn consistently balance virtuosity with sensitivity, ensuring the listening experience remains enriching.

Ultimately, Tribute: The Music of Gregg Hill is another creative addition to the contemporary jazz landscape featuring Hill’s compositions. The trio format comes across as a celebration of a composer’s oeuvre, executed with elegant precision by three Detroit masters. For jazz fans, Roe’s thoughtful homage presents a compelling exploration of compositional innovation and dynamic trio interplay, solidifying Gregg Hill’s status as a significant voice in today’s jazz currents.