Rick Roe, Tribute: The Music of Gregg Hill Review

by Icrom Bigrad

Rick Roe’s latest release, Tribute: The Music of Gregg Hill, celebrates the creative compositions of Lansing-based jazz composer Gregg Hill. Accompanied by the impeccable rhythm section of Grammy-winning bassist Robert Hurst and dynamic drummer Nate Winn, Roe builds a jazz experience that resonates with trio interaction, flowing rhythms, and storied improvisations.

The album opens with “Elden’s Bop,” a composition that features a transition from a lilting jazz waltz to a driving swing. Roe’s piano playing is lively with rhythmic drive, while Hurst’s round bass lines and Winn’s compelling drumming establish a robust foundation for interaction. This cohesive interplay immediately underscores the trio’s synchronicity.

“Ducks Night Out” continues with Hurst’s arco bass supporting smart piano voicings. This builds to a laid-back, blues-inflected groove that gives Roe ample space for melodic creativity, all punctuated by Winn’s deft rhythmic textures. This trio is hard swinging and foot tappin’. The playful “Mr. Pea” follows, showcasing Roe’s virtuosic agility and the trio’s spirited interaction in a lively presentation created by Hill’s wonderfully written composition.

“Julie’s Tune” offers a memorable swing ballad marked by the trio’s expressive performance and listening skills. Roe’s expressive solo is lyrical as he continues to develop Hill’s theme through his solo ideas. Roe focuses on the emotional weight of the harmonic progress of the composition’s lyrical core. This conversation continues into “Sunday Special,” a buoyant bluesy piece defined by subtle, conversational exchanges between Hill’s compositional sections. The trio keeps the feel alive with sensitive listening and delicate interactions.

The trio ramps up the intensity with the album’s title track, “Tribute,” featuring a Latin feel paired with a swing bridge section and solos. Hill’s theme features an interesting rhythmic exploration and a clear jazz structure. The trio’s swing feel highlights Winn’s rhythmic ingenuity and Hurst’s resonant walking technique. Roe’s piano lines are clean, with rhythmic accents that make the swing. “Floating Candles” further exemplifies the collective synergy, each musician contributing equally to a musical conversation through the harmonic tapestry that highlights Hill’s compositional creativity.

“Ballade” transitions gracefully into a relaxed swing ballad, spotlighting the articulate manner in which the trio transitions the pulse to a medium swing statement. This is based on their eloquent dialogue. “Sharrie Sharrie” has a be-bop influence with its angular motif and colorful harmonic turns. Hill’s music always provides a tight-knit coordination of melodic and harmonic musical daring for the musicians to explore and be inspired by.

In “Soul Element,” the trio captures the mood of Hill’s composition as it moves from the serene to medium swing satisfaction, their performance profoundly communicative. “Summer Nights” sustains this chemistry, underscoring the trio’s sensitive dynamic interplay.

The album concludes thoughtfully with “The Singer,” encapsulating the overarching theme of collaboration. This final composition illustrates the depth of which Hill’s compositions can swing as the trio ends the set with an intuitively attuned swing expression filled with nuances.

Tribute: The Music of Gregg Hill has the depth and breadth of a great jazz piano trio. With Hill’s compositions providing a creative road map, Rick Roe’s trio offers us an expressive, cohesive album that is a fine addition to modern jazz, richly rewarding attentive listening.