| Jazz |
It is a challenging endeavor to unearth substantial information about this musician, a pianist and composer, who, like many before him, has chosen to interpret the works of Gregg Hill—a composer and musician of great renown and one of the prideful pillars of American jazz. Yet, a brief biography can be found scattered across various websites, which I will recount here:
Rick Roe: Rick Roe claimed first place at the Great American Jazz Piano Competition in 1994, was twice a semi-finalist at the Thelonious Monk International Jazz Piano Competition in 1993 and 1999, and graced the stages of esteemed festivals such as Jacksonville Jazz, Savannah Onstage International Arts, Montreux/Detroit Jazz, Birmingham Jazz, Lansing Jazz, Flint Jazz, and the Hawaii Jazz Festival.
Roe has also served as an educator and lecturer at institutions including the University of Arizona, the University of North Texas, Michigan State University, the University of Nevada, Las Vegas, the University of Michigan, and the Montreux/Detroit Jazz Festival. Moreover, he has performed alongside illustrious musicians such as Marcus Belgrave, Donald Walden, Rodney Whitaker, Frank Foster, Andrew Speight, Wycliffe Gordon, Louis Smith, Wendall Harrison, Dwight Adams, and many others.
In 2024, we found ourselves inundated with interpretations of Gregg Hill’s music, delivered by outstanding artists like Michael Dease, Randy Napoleon, Technocats, and more. Yet, while this new album is commendable for the quality of its performances, it is sorely lacking in originality. It caters primarily to those who appreciate fidelity to the score but leaves little room for personal connection or intrigue. Personally, I find myself drawn far more to other artists who have tackled Hill’s oeuvre with more compelling perspectives and interpretations.
This album will undoubtedly appeal to an audience that cherishes a very classical approach to jazz—where all the genre’s conventions are meticulously adhered to, including the predictably structured entrances and exits of solos, which altogether eliminate any element of surprise. For those of us with a broad and nuanced understanding of jazz, this can be disheartening, as each musician here is undeniably excellent. Yet, from start to finish, I waited in vain for a moment of transcendence—something magical to stir my soul. Alas, nothing of the sort arrived, leaving only the satisfaction of listening to remarkably skilled instrumentalists.
I therefore award this album three stars. While it suffers from a profound lack of vision and surprises, it will undoubtedly delight those who favor tradition and craftsmanship over innovation.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, January 4th 2025
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