Chad McCullough: In These Hills, Beyond

Trumpeter Chad McCullough started his recording career in Seattle at Origin Records, releasing five albums between 2009 and 2015 under his name or as a co-leader with pianist Bram Weitjers. It was a successful run that earned him the "Rising Star" tag. A move to Chicago to teach, the release of his "Best of Year" pick, 2020's Forward (Outside In Music), and the subsequent starting up of his Calligram Records that has taken his artistry and his career to the next level.

In These Hills, Beyond, finds the trumpeter fronting an adept quintet—trumpet, piano, guitar, bass and drums—recorded live at North Street Cafe, Madison, Wisconsin. Opening with the thirteen-plus minute "Fellowship," the sound is characterized by a probing, free- flowing assurance.

McCullough is not one to work with a long-standing group. He seems to favor mixing things up—new players, new possibilities That said, his relationship with pianist Bram Weitjers is a long-standing one, with three co-leader discs with McCullough on Origin records. Weitjers is back for In These Hills, Beyond. The musical relationship is simpatico to the max. Though McCullough has worked with the other group members here—guitarist Dave Miller, bassist John Christensen and drummer Kobie Watkins—it has never been in this configuration. As one would expect from a former Rising Star and a bunch of seasoned pros, the sound is assured and innovative, with lots of full-of-surprises soloing. Execution-wise, composition-wise—with six tunes from the leader's pen, two more from Weitjers and one from Scott Tinkler—everyone sounds inspired.

Of particular interest is the guitar/piano dynamic. Weitjers and Miller give the music a dense, sometimes crunchy center. Both solo with aplomb. Additionally, McCullough does some of the best trumpeter playing of his career.

In its way, In These Hills, Beyond, straddling a line between free and modern jazz, has the feeling of newness, of a step forward for McCullough, in the way (though not in the specifics) of Miles Davis when he came out with E.S.P. (Columbia, 1965). It is like a corner has been turned.

The initial game plan for this recorded show was, according to McCullough, "To play great music with my friends." But the recent passing of his grandfather gave a sense of poignancy to the proceedings, seemingly giving the leader's trumpet lines—and thereby the group interplay—a creative boost.

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