Rick Roe: Wake Up Call

Gregg Hill writes music. Other musicians play—and record—Hill's music. Pianist Rick Roe's latest album, Wake Up Call, marks the 19th time that has happened (and the second in 2026 alone). True, Hill and Roe are both Michiganders, but that is not always the case; Hill's nearly 200 compositions have seen the light of day on albums recorded from coast to coast and beyond including several with his name in lights.

Even so, it is hard to envision Hill's music being played with more warmth or awareness than this. Simply put, Roe's quartet infuses every one of the album's 10 numbers with freshness and vitality, thanks largely to Roe's luminous and inventive charts and the singular talents of his able and supportive colleagues: saxophonist Marcus Elliot, bassist Robert Hurst and drummer Nate Winn.

One of Hill's strengths is melody, an advantage he employs to the fullest extent possible on such charismatic themes as "Sunspiration," "The Return of Mr. Pea," "La Canción," "Hyperbarity" and elsewhere. Truth be told, there is no theme on Wake Up Call that is less than engaging, and that includes the album's supple and dancing title song. That plays to the quartet's strengths, as Roe and Elliot are lyric apostles whose solos are as eloquent and descriptive as they are sharp and stylish. Hurst and Winn are on the same page, and keep the rhythmic burner on high without hyperbole or pretense.

The bluesy opener, "Inside Straight," gives a strong indication of where the session is going, as Elliot (on tenor sax), Roe, and Hurst solo smartly while the melody beguiles and the rhythm keeps humming. Elliot, who divides his time between tenor and soprano sax, moves to the latter on "Sunspiration," whose bright harmonic design fairly bursts with sunlight. The title song is next, followed by the calm and rippling "Wide River." The good-natured "Mr. Pea" leads to the buoyant post-bop "Modal Yodel #2" and seductive "Canción."

"The Ringer" tips its quirky hat in the general direction of Thelonious Monk, after which the fiery "Hyperbarity" (literally "high-pressure," with apt solos by Elliot and Roe) paves the road for the brisk and captivating finale, "Double Play." As noted, Hill writes music—very good music—much of which finds its way into the hands and hearts of very good musicians who appreciate its freshness and perception. Wake Up Call provides a textbook example of what lies within reach when such a partnership works flawlessly to deliver srong and persuasive results.

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