| Jazz |
Michael Dease ranks among the most luminous trombonists of his generation. Over the course of a career defined by stylistic range and artistic rigor, he has collaborated with figures as diverse as Christian McBride and Alicia Keys. A recipient of a Guggenheim Fellowship in 2025 and a senior figure in the renowned jazz department led by Rodney Whitaker at Michigan State University, Dease has been instrumental in reinforcing the school’s standing as one of America’s most vital centers for jazz education and large-ensemble innovation.
The phrase “Spartan Strong,” which might at first glance suggest a sports mantra, takes on a more nuanced meaning in this musical context. It reflects the formidable musical instincts, the exhilarating orchestrations, and the unapologetic improvisational virtuosity of the 18 musicians drawn from Dease’s teaching studio. Supported by a rhythm section featuring Xavier Davis, Jared Beckstead-Craan, and Keith Hall, the ensemble performs arrangements of original compositions alongside jazz standards, spanning eras and styles with confidence and cohesion.
The result is a fresh affirmation of artistic excellence. Beyond articulating his own musical vision, Dease demonstrates a rare ability to elevate virtually any jazz composition placed in his hands. That gift is often expressed through a deeply personal approach to swing, elastic, muscular, and unmistakably his own. Among contemporary trombonists, only Sweden’s Nils Landgren operates at a comparable level of authority, though the two arrive there by different paths: Landgren through a blend of funk-inflected lyricism and European precision, Dease through orchestral density, rhythmic propulsion, and a distinctly American sense of drive. It is a small world of shared devotion to groove and sound, marked by contrasting aesthetics and a common pursuit of individuality.
Few artists possess Dease’s breadth of capabilities. Particularly striking are the harmonic architectures of the arrangements, whose rounded, resonant voicings create a distinctive sonic depth. Equally compelling is the sincerity with which each piece is treated. Nothing feels ornamental or routine. The scope of preparatory work is unmistakable, and the outcome is remarkable. Managing an ensemble of this size while preserving rhythmic clarity, especially through extended solos and rapid transitions, is an exacting challenge, one that is met here with authority and precision.
Across Michael Dease’s discography, orchestration has consistently served as the structural backbone. His music is conceived spatially, with an acute sense of projection and balance, an approach likely shaped by the physical demands and acoustic reach of the trombone itself. Though recorded in the studio, this album often feels like a live performance. The musicians’ ease within a large-format setting is evident, and repeated listening reveals not only power but also restraint and delicacy in the individual performances.
Circumstances of release schedules meant that Flow (Posi-Tone, 2025) did not reach this reviewer. Still, critical responses from those who did receive the album suggest it was met with widespread acclaim, further underscoring the consistency of Dease’s output.
Certain musicians command a rare kind of trust. In a very different stylistic realm, artists such as Fujii Sakamoto share with Michael Dease an uncompromising attention to detail. Both release albums at a prodigious pace, yet leave nothing to chance. Their work can be approached with eyes closed, secure in the knowledge that substance and coherence will prevail.
In this instance, unless one harbors a categorical aversion to large ensembles, the album offers a richly satisfying experience, lavish without excess, disciplined without constraint. More than a showcase of technical prowess, it stands as further evidence that Michael Dease remains one of the most thoughtful and compelling architects of contemporary jazz orchestration.
Thierry De Clemensat
Member at Jazz Journalists Association
USA correspondent for Paris-Move and ABS magazine
Editor in chief – Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, December 28th 2025
Follow PARIS-MOVE on X
::::::::::::::::::::::::
Musicians :
Michael Dease – trombone
featuring the MSU Jazz Trombone Studio:
Trombones: Daniel Bear, Aidan Clark, Hannah Davies, Judah Guerra, Nanami Haruta, Eli Howell, Drew Kilpela, Andrew Kim, Pablo Muller-Santiago, Dan Parrish, Altin Sencalar, Bridgette Setters, Jack Trathen, Miles Cole, Charles Scanlon, Ken Thompkins
Bass Trombones:
Kyle Quick, Gina Benalcázar-López, Wyatt Forhan, Charles Grace Jr., Chris Glassman
Rhythm Section (except 2, 8-10, 13):
Xavier Davis – piano
Jared Beckstead-Craan – bass
Keith Hall – drums
Benny Benack III – vocals (6)
Ethan Frank – piano (8,10)
Reuben Stump – bass (8,10)
Randy Gelispie – drums (10)
Brian Allen – drums (8)
Sharel Cassity – alto saxophone (8)
Track Listing :
1 Huesos Con Clave 5:49
2 Remembrance 3:51
3 Evidence 4:32
4 Frame for the Blues 7:01
5 Some Skunk Funk 6:12
6 It Could Happen to You 6:02
7 The Nearness of You 6:58
8 Song of Those Who Seek 5:31
9 ‘Round Midnight 3:57
10 Groove Blues 5:19
11 Alfitude 4:36
12 Blues After Dark 6:18
13 Spartan Strong 4:46
14 Blues in the Closet 5:24
Compositions by:
(1) Sencalar (2) Forhan (3) T. Monk, arr. Nate Kimball (4) S. Hampton, arr. Haruta (5) R. Brecker, arr. Michael Pilley (6) J. Van Heusen, arr. Benack III (7) H. Carmichael, arr. Geoffrey Keezer (8) Cassity (9) T. Monk & C. Williams, arr. S. Hampton (10) Turre, arr. Dease (11) C. Roditi, arr. Matt Garrison (12) B. Golson, arr. Howell (13) Michael Davis (14) O. Pettiford, arr. Pilley
Produced by Michael Dease
Recorded, Mixed and Mastered by Corey DeRushia
at Troubadour Studios Lansing, MI
Recorded on April 4-5, 2024
Liner Notes by Gary Fukishima
Band photo by Lynne Brown
Cover design & layout by John Bishop