Rodney Whitaker, Mosaic: The Music of Gregg Hill Review

by Stamish Malcuss

Rodney Whitaker, a towering figure in jazz bass performance and education, has long been celebrated for his multifaceted musicianship and deep understanding of the genre. Mosaic: The Music of Gregg Hill is the latest collaboration between Whitaker and composer Gregg Hill. This album marks the fourth installment of their musical partnership, further solidifying their bond as one of modern jazz’s most exciting creative forces. With Whitaker’s renowned bass work leading the charge, Mosaic: The Music of Gregg Hill introduces a vibrant collection of compositions that pay homage to jazz history while also pushing its boundaries with new and fresh compositions from Hill’s creative writing.

At the heart of this album lies the brilliant compositional voice of Gregg Hill. His writing embodies a wide array of jazz styles, incorporating elements from the straight-ahead tradition to Afro-Cuban grooves, modern harmonic complexity, and even playful nods to 1960s boogaloo. What sets Hill apart, however, is his ability to fuse these influences into a cohesive and idiosyncratic sound that is distinctly his own. Whitaker’s deep understanding of these varying jazz styles, combined with his empathetic leadership, allows Hill’s compositions to come alive in this thrilling ten-track excursion.

The ensemble assembled for Mosaic: The Music of Gregg Hill features an all-star lineup, with each member contributing to the ensemble’s interaction and interpretation of Hill’s compositions, with each player’s musicality and personality infusing the pieces with richness and depth.

Dana Hall, on drums, establishes the album’s tone with his use of mallets and cymbals on the opening track, “Mosaic.” Hall’s dynamic range and subtle rhythmic choices, from the delicate shimmers to the percussive intensity, shape the entire mood of the piece. His ability to support the ensemble while also leading with his playful yet precise touch on the kit enhances the free-flowing nature of Hill’s writing.

Trumpeter Terell Stafford, a mainstay of the ensemble, brings his virtuosic command to the album. Stafford’s tone, unmistakably clear and warm, imbues every track with his distinct character. His improvisations, particularly on “Claxilever,” reveal his technical brilliance and emotive depth, drawing on the legacy of great jazz trumpeters while remaining unmistakably individual.

Saxophonist Tim Warfield switches between soprano and tenor saxophone with ease, his expressive, intuitive phrasing a strong anchor in the ensemble. On tracks like “Ray-Dias,” Warfield delivers a solo that swells and recedes like an ocean’s tide, teasing the edges of improvisation before building to a raucous climax. His deep musical understanding and interaction with Stafford create a front line that crackles with energy and rapport, reminiscent of iconic pairings of the great hard-bop frontlines.

Pianist Rick Roe provides the harmonic and melodic foundation that underpins much of the album’s adventurous spirit. Roe’s ability to navigate Hill’s ambitious compositions with grace and rhythmic boldness ensures the album’s fluidity. On “Still Life with Tuba,” for example, Roe weaves interesting voicings into the rhythm section’s pulse, amplifying Hill’s through-composed material with elegance and sophistication.

Whitaker’s role as bassist and arranger is central to the album’s success. His nuanced approach to rhythm and time, combined with his inventive use of space and dynamics, allows Hill’s compositions to unfold organically, while still maintaining a strong structural integrity. Whitaker’s bass solos, particularly on “Sloe Gin Fizz,” are models of poetic restraint, carving out moments of sheer beauty amidst the album’s swinging intensity.

The interplay between Whitaker and the rhythm section is a true highlight throughout the record. Take, for example, “Moonscape,” where the trio of Whitaker, Hall, and Roe locks into a tight groove, providing a platform for the horns to experiment melodically. The combination of Whitaker’s deep swing and Hall’s dexterous drumming creates an engaging foundation, while Roe’s piano lines shift the harmony in subtle yet captivating ways. This level of interplay speaks to the group’s high level of communication and mutual respect.

Whitaker’s ability to lead while remaining an equal partner within the ensemble shows his deep musicality. He draws out the best from each of his fellow musicians, ensuring that their contributions are emotionally resonant and serve Hill’s intended mood.

Adding another layer of texture to Mosaic are the vocal contributions from Rockelle Whitaker. On tracks like “Unknown Ballad” and “Stargazer,” her voice brings new colors to Hill’s melodic ideas, imbuing the compositions with warmth and emotion. Her soulful delivery, especially on the emotionally charged “Stargazer,” echoes the tradition of vocalists like Abbey Lincoln, whose deep connection to the jazz idiom resonates through Rockelle’s phrasing. Her ability to engage with the complex melodic intervals of Hill’s writing is a rare feat, and she delivers with passionate authority, offering a beautiful counterpoint to the instrumental narratives unfolding around her.

Mosaic: The Music of Gregg Hill is a creative and enjoyable synthesis of rich tradition and modern exploration, thanks to the visionary compositions of Gregg Hill and the leadership of Rodney Whitaker. This album encapsulates the essence of what jazz is all about—creativity, interaction, and the freedom to explore the many styles of jazz while remaining firmly grounded in the music’s history. Mosaic: The Music of Gregg Hill is a radiant, multifaceted album that will undoubtedly resonate with jazz fans by offering new shades and hues with each listen.