Rodney Whitaker: Mosaic: The Music of Gregg Hill

At just fifty-six years young, Rodney Whitaker has cemented his legendary status as a sought-after bassist extraordinaire and, arguably the pre-eminent jazz educator of his generation. The Detroit, Michigan native, recently elected to the hallowed ranks of the American Academy of Arts and Sciences, that includes such innovators as Benjamin Franklin and Dr. Martin Luther King Jr., continues to firmly establish himself as a superb interpreter of original music, notably through his fruitful association with composer Gregg Hill. Mosaic is the fourth collaboration between Hill and Whitaker, and features his vibrant, working band imbuing Hill's fresh, idiosyncratic compositions with fiery interaction, deep swing, wise decisions, and a forward-thinking sense of adventure.

The title track "Mosaic" immediately drops the listener deep into the pensive waters of Hill's soundscape as drummer Dana Hall's mallets and cymbal shimmers create a magical atmosphere. We are treated to splendid introductions to the band's fluid creativity as trumpeter Terell Stafford, saxophonist Tim Warfield on soprano, pianist Rick Roe and leader Whitaker swing compellingly over the song's chord structure. Vocalist Rockelle Whitaker adds soulful warmth and power over the grooving "Unknown Ballad" building to a stunning refrain of "is it real?" at the song's exciting, gripping conclusion. Warfield returns to tenor saxophone on the frontline with Stafford for catchy, Mingus-like phrasing of "Claxilever." Over the percolating rumble of this earthy rhythm section, Stafford and Warfield recall the buoyant feel and sonic camaraderie of Ornette Coleman/Don Cherry and Horace Silver's frontline of Tom Harrell. "Katie's Tune" takes us into an Afro Cuban-inspired fusion of the waltz feel that hums with an aura of freedom and modernity that has become a hallmark of Whitaker's musical voice.

The Whitaker/Hill pairing is notable for the diversity of influences and viewpoints they incorporate, and the rich vibrations that this sophisticated fusion of musical ingredients can produce. We see this in the melding of 6/8, 12/8 and 4/4 rhythms that herald the melody of "Moonscape." Rockelle Whitaker joyfully engages the dynamic intervals of Hill's ambitious melody, once again displaying passionate authority that adds brilliance to the ensemble. More of Hill's humor is on display throughout "Ray-Dias" as the intro teases contrasting phrasing aesthetics hinting at the spirited boogaloo groove of the 1960s. Stafford's soaring solo recalls the influential power of Freddie Hubbard while retaining his own identity—no easy feat, and something many trumpeters fall victim to. Warfield, returning to soprano, leads the band through a grand exodus of rubato stylings before Hall solos mightily over the dance-like punctuations of departing melody. Whitaker's skillful arranging blends the beauty of modern jazz, through-composition techniques and an engagingly wide dynamic range with his take on Hill's "Still Life with Tuba." Notable is the intensity that all members perform with, recalling the strength of character present in Max Roach's "Freedom Now Suite." "Sloe Gin Fizz" features Whitaker's defining and poetic solo work directly after the catchy, singable melody. Indeed, the entire band opens up here, replete with a reference to Kenny Barron's "Voyage" and iconic tenor melodic sheets of sound known colloquially as "shredding." The interplay between the rhythm section during Roe's solo is a masterclass on listening, accompaniment, and interactive improvising.

The emotion is palpable in Ms. Whitaker's voice as she commands the melody of "Stargazer" with echoes of NEA Jazz Master Abbey Lincoln's influence looking on approvingly. This tender, but insistent ballad is perfectly situated now in the journey of this album's playlist. The anthemic "Sunday Special" has Detroit stamped all throughout this performance, and serves as a fitting, soulful goodbye-embrace to an hour of intelligent, compelling exploration in the realm of America's own creation: Jazz music. Rodney Whitaker, Gregg Hill and company are a thoroughly engaging, critically acclaimed and successful team. This fourth project is another resounding confirmation. As a musician and admirer of them both, I can only hope there is a fifth such outing. Enjoy the many colors, moods, and spirits on full display throughout Rodney Whitaker's 2025 recording Mosaic: The Music of Gregg Hill.

Liner Notes copyright © 2025 Michael Dease.

Mosaic: The Music of Gregg Hill can be purchased here.

Contact Michael Dease at All About Jazz.
Michael Dease is a world-renowned trombonist, baritone saxophonist, bandleader, educator, and perennial Downbeat poll winner

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