The Unwinding is a collection of seven jazz pieces, two written by Millhouse, with the rest arranged to suit his own unique format of tenor saxophone, drums and six-string electric bass.

Millhouse has played and studied jazz since he was 15 years old, and he has long been infatuated by those who defined that genre on his instrument: Jaco Pastorius, Stanley Clarke, Steve Swallow and Anthony Jackson to name just a few.

It is apparent almost immediately into the first track of Monk’s classic tune, “I Mean You,” that there is something different and compelling about the trio’s sound. Much of it can be traced to the polyphonic textures Millhouse is able to achieve on his six-string. He has played that unique instrument since 1990, but there weren’t many opportunities to unlock its full potential for him until now.

Millhouse explores this texture (on what Jackson has dubbed “the contrabass guitar”) within the two original compositions he wrote for this album. The title track, “The Unwinding,” begins with a syncopated bass ostinato alternating between roots and chord tones. The harmonies continue off and on throughout the form underneath Perry’s expressive treatment of the melody. On “I Don’t Know Yet,” Millhouse employs three-note block chords in a slow hemiola rhythm ala Coltrane’s “Equinox,” paced expertly by Eric Halvorson’s active drumming.

Elsewhere, Millhouse demonstrates other facets of his bass prowess, doubling with Perry the intricate line in the outgoing shout chorus in Horace Silver’s “Soulville.” On Sam Jones’ “Seven Minds,” he is somehow able to recreate the essence of the fourth-voicings of both pianist Cedar Walton and the entire horn ensemble of bassist Jones’ fiery 1978 version.

“Falling Grace” is the most well-known composition by Swallow, who is one of the most well known jazz electric bassists, and the tune was an easy choice by Millhouse to include on his album. “He is one of my main inspirations as a composer, and playing electric bass in this genre, his playing is absolutely musical, sensitive, intense and filled with humor—just as is his personality!” he says of Swallow.

Speaking of which, another benefit of this album is to hear for an extended time the original personality that belongs to saxophonist Perry. For over four decades now, he has been lauded by fellow musicians as one of the great New York saxophonists alive today, evidenced by his appearance as a sideman on over 80 albums, including a prominent chair in the Vanguard Jazz Orchestra (from the time of Thad Jones and Mel Lewis) and the Maria Schneider Orchestra. We should not fail to mention that he also has 24 albums to his name as a leader.

This album bodes well for things to come.

Gary Fukushima, December 2022