by Steph Cosme
Lisa Hilton brings a cool jazz meets contemporary jazz narrative with Extended Daydream. Across eleven tracks, Hilton shapes an album where design, compositional pacing, and ensemble communication work together to create a listening experience that is cohesive and persuasive.
This is a record that prioritizes emotional clarity with the sound of Hilton’s writing and playing, drawing from the cool jazz language, Latin forms, and impressionistic colors. With Hilton, everything is filtered through a consistent aesthetic of voicings, careful voice leading, and an acute sensitivity to how harmony interacts with rhythm and orchestration.
The album opens with “So What,” a deliberate and revealing choice. Hilton approaches the Miles Davis classic as a harmonic conversation already in progress. Her piano voicings subtly reference the original recording of quartal shapes and suspended colors, while gently reshaping the harmonic space. These choices invite saxophonist JD Allen and trumpeter Igmar Thomas to engage melodically with their solos. The result is a solid performance with tonal shading emerging naturally.
That harmonic sensitivity and connection continue with “Momentary Mystery,” a medium-tempo swing that highlights Hilton’s command of voice leading within forward motion. Her chordal playing is economical but richly voiced, each voicing chosen for how it propels the line rather than decorates it. Allen’s tenor lines respond directly to this harmonic clarity, while Luques Curtis’s bass provides a grounded, resonant foundation that reinforces the harmonic center. The interplay here underscores Hilton’s role as a pianist who shapes the harmonic floor, allowing others to stand securely upon it.
The title track, “Extended Daydream,” has a light contemporary rock-jazz framework as the piece unfolds through thematic development and sectional contrast. Hilton’s solo grows organically from the melody, her harmonic choices emphasizing color and direction. Her pacing allows harmonic color to shift gradually, reinforcing the sense of narrative flow.
Latin influence plays a significant role across the album, particularly on “Tropical Tuesday” and “It’s Just for Now.” On “Tropical Tuesday,” the harmonic rhythm remains relaxed, giving space for elements to establish buoyancy. Hilton’s piano functions as connective tissue, enhancing color. “Here & There & Back & Forth” has subtle transitions and variations of swing. The ensemble handles each with rhythmic clarity.
“Blues on the Beach,” a piece shaped by Hilton’s catchy melody writing and funky jazz rhythmic pad. Allen and Tomas are excellent in their communication as they solo in a call-and-response pattern. “Seabirds” offers a contemporary composition that has elements of impressionism and contemporary jazz. Hilton’s ability to use the harmonic material of her compositions to create a setting of maximum expressive effect with the ensemble is admirable.
The reimagining of “Wildflower” is an example of Hilton’s arranging sensibility. Tomas’ muted trumpet sound is outstanding as the ensemble recontextualizes the song without obscuring its melodic core. The arrangement emphasizes texture and pacing, demonstrating Hilton’s skill in adapting non-jazz repertoire through harmonic refinement and ensemble orchestration.
The last two selections, “Sunset Tale” and “Spacious Skies,” feature Hilton in a trio and solo setting, respectively. Hilton leading in a trio setting is lyrical and paced to grow organically. “Spacious Skies,” the solo piano piece, distills Hilton’s harmonic philosophy and shows her fluency in jazz and classical sonorities. Rather than functioning as a virtuosic closing, the pieces extend the album’s mood and theme of space, reflection, and continuity.
Extended Daydream represents Lisa Hilton’s craftsmanship as a composer, arranger, and pianist. This is music that trusts harmony to do emotional work without drawing attention to itself. In doing so, Hilton offers a compelling project where each aspect is allowed to speak. That’s the short of it!
