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fa-magic

A.n.d.r.e.w. H.i.l.l. - 'B.l.u.e. B.l.a.c.k.' (1977)

Celebrate Andrew Hill

Hill (p) Chris White (b) Leroy Williams (d) Jimmy Vass (f, ss, as)

I really like this review from all about jazz that tells you a bit about this rare release. I dig this session so much that it got me bending my rule to stay away from horns. What's that about, you ask? Well, horns feel a bit like fentanyl to me in 2017. Not discounting them for the entirety of my listening lifetime. Just trying to get a handle on how this music works sans horns before I jump into the deep end with no water wings. Anyway, Blue Black is an excellent sesh. The flute line of track two got stuck in my head for ten days straight.

_Alibi

Category:

JAZZ

A.n.d.r.e.w. H.i.l.l. - 'N.e.f.e.r.t.i.t.i.' (1976)

Celebrate Andrew Hill

Hill (p) Richard Davis (b) Robert Blank (d)

This is a nice rare piano trio outing. The first track in particular is so choice. Hill just la la la lulls you for about six and a half minutes. And then all of a sudden - POW - the rhythm section comes in like a brick bat to your grill. So heavy.

_Alibi

Category:

JAZZ

A.n.d.r.e.w. H.i.l.l. - 'I.n.v.i.t.a.t.i.o.n.' (1975)

Celebrate Andrew Hill

Hill (p) Chris White (b) Art Lewis (d)

What I love about listening to Hill's catalogue, is that he is willing and able to take you as deep down the rabbit hole as you want to go. This is most evident to me on his piano trio work. Hill seems to be saying to me as I listen, "You want to get weird? I'll show you weird, my son. I'll go as strange as you can take and I'll make it swing and I'll keep it beautiful." This trio outing is among Hill's wildest, to my ears. This isn't easy listening. At a cursory listen, the players sound like they're in disparate worlds from one another, as though their isolation booths in the studio not only isolated their microphones but also their ears. I've played with drummers whose egos were such that they just kinda did their thing, in the way that a drum preset on a rinky dink casio keyboard just spits out a cheap beat and expects you to play to it. At first, this record sounded to me like that, as though the players were barely listening to each other. In fact this isn't so. They're just out for a walk together and their leashes are quite loose. It's a burning session if you sit with it. Or perhaps you might prefer some of Hill's more meat and potatos outings. Up to you, there's plenty of delectable music on the menu tonight.

_Alibi

Category:

JAZZ

A.n.d.r.e.w. H.i.l.l. - 'S.m.o.k.e. S.t.a.c.k.' (1966)

Celebrate Andrew Hill

Hill (p) Eddie Khan (b) Richard Davis (b) Roy Haynes (d)

This record was cited by Mario Pavone as an inspiration for his recent trio records. Since I've been really enamoured of those lately, checking this out was a must. I'm still wrapping my head around it weeks later. Read this interview with Hill to get an inkling into the styles of this extraordinary composer and player.

Category:

JAZZ

A.n.d.r.e.w. H.i.l.l. - 'J.u.d.g.e.m.e.n.t.' (1964)

Celebrate Andrew Hill

hill (p) richard davis (b) elvin jones (b) bobby hutcherson (v)

serious jams on this do not sleep.

_alibi

Category:

JAZZ

A.n.d.r.e.w. H.i.l.l. - 'S.o. I.n. L.o.v.e.' (1956)

Celebrate Andrew Hill

have you heard andrew hill's very first record??? recorded in 1956. malachi favors on bass. james slaughter (no relation to sergeant slaughter) on drums. ...i had no clue music recorded over 60 years ago could sound this hip. been thinking about ellington's tune 'fleurette africaine'... now peep the similarities ...listen to the title track off this record, the very first cut, 'so in love'... so in love indeed! so passionate. i have to tell you right here and now, i don't think i could have appreciated the depth of this tune had i not studied gamelan in java. without that knowledge and experience, i might hear these three players on this cut as playing three different tempos... which they are, at points. i'm saying, i might have heard that as "not together" or "not tight"... hearing it now... it's just so musical, so tasty. then when they start to swing around the two and a half minute mark, check out hill's rubato. it's bananas. he's just like, i'm gonna play every which way around this beat and show y'all how i make it sound nice. all this at age twenty-five or so. it's like the blueprint for how burning his career was gonna be was all there from the very first cut off his very first record as a leader. talk about wig flipping. side note, i like to imaging how this record was marketed in those highly segregated times... now, on that youtube link right there you can see hill posing with a maniacal musical genius stare and a haircut that i presently try to emulate. i'm pretty sure that's the cover of the reissue... annnd then there's this other sleeve for the same record that features a horny looking white lady on a trundle bed who seems to be saying, 'you know it's 1960. so. come on and get you some of this free love as you listen to this free jazz that also has the word love in its title'... damn.

_alibi

Category:

JAZZ

m.a.r.i.o. p.a.v.o.n.e. b.l.u.e. d.i.a.l.e.c.t. t.r.i.o. - 'c.h.r.o.m.e.' (2017)

i got so into pavone's previous two piano trio records that i actually ordered this one on cd from the label. it just came out in september 2017. definitely one of my top five favorite records of 2017.

_alibi

Category:

JAZZ

m.a.r.i.o. p.a.v.o.n.e. b.l.u.e. d.i.a.l.e.c.t. t.r.i.o. (2015)

on a no horns bender lately. more burning bass drums trio led by barking bassist mario pavone. this one's got the god tyshawn sorey on traps and metal maniac matt mitchell on keys.

_alibi

Category:

JAZZ

M.a.r.i.o. P.a.v.o.n.e. A.r.c. T.r.i.o. (2013)

this bass player, mario pavone, is as old as my dad. that 77 at the time of this writing. he writes some of the most burning music going these days, and plays with some of the sickest players. favorite cuts include tracks 1, 3 & 5. this tio record is as ripping as just about any death metal on the market right now. get hip.

_alibi

Category:

JAZZ

H.a.y.d.e.n. P.r.o.s.s.e.r. - 'T.e.t.h.e.r.' (2017)

evidently in the world of terrible album covers of tremendous contemporary jazz, depictions of jaunty shapes are rather popular. this is a fine record by a young british bassist composer, featuring one of my favorite working painists, elias stemeseder of jim black trio fame. this record almost sounds like it could have been made with guitars, and if so would have sounded like some solid long lost mid 90s release.

_pert plus

Category:

JAZZ

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