Michael Dease: Grove's Groove

The story of Michael Dease's journey from sax to trombone and back again is one any parent of a musically talented child could recognize. Dease started out as an alto saxophonist in middle school. Sometime later, he wanted to switch to the baritone sax. He worked at it. And worked at it some more. His combination of talent and practice paid off. Dease became something of a young monster on the horn, outplaying his senior bandmates in high school. But the Band Director did not succumb to the allure of mere talent. Rules are rules; seniority has its privileges. So Dease was not permitted to play baritone sax because it would displace a more senior player. A grudge was born: "to me, the bari sax has always meant politics." Dease sought refuge in playing trombone after hearing Curtis Fuller on John Coltrane's Blue Train (Blue Note, 1958). The sax became a guilty pleasure. No one encouraged such an awkward double for fear he would not be taken seriously on either horn. If a reader has come this far and thought "Lucky for Benny Carter this kid did not latch on to Lee Morgan," well there it is. Talent finds its own way and its own voice, Band Directors notwithstanding. Roy Hargrove heard Dease playing tenor sax, took him seriously and encouraged him. That was all Dease needed, somehow thinking Hargrove might know a little better than his former Band Director.

So here a listener has the result of Dease's talent, Hargrove's' talent and good sense, and perhaps, some luck. Accompanied by a galaxy of excellent players, Hargrove alumni and friends, there is a wealth of good music. First off is "Grove's Groove," a rolling twelve-bar . blues that features Dease, Steve Davis, Jocelyn Gould and Rodney Whitaker. Next comes "Tea for Two," a vocal/guitar vehicle for Jocelyn Gould that opens with a verse that many listeners will not know existed. "Seiko Time" is more Latinesque than Japanese, with a lovely Steve Davis trombone solo. "Minor Funk" is what it is, courtesy of Cyrus Chestnut. Steve Davis once again shines. "Never Let Me Go" takes the temperature down a bit. "The Viper" is a soul-jazz track which features Terell Stafford channeling Lee Morgan and some funky organ as well. "Decisions" and "Father Figure" are Dease originals that add both spice and reflection, with Rodney Whitaker getting solo space on the latter. "Broadway," fittingly enough closes the session out, with almost the entire ensemble getting into the act.

Everyone will say the world lost a great player, a mentor, and probably just as often, a friend when Roy Hargrove passed all too soon. This recording is a fitting memorial to him.

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