Andrew Hill (Guest rec from Martyn)
Today we have a guest recommendation from Martyn (Martyn 3024), a Dutch musician and DJ, who just released a jazz/electronic album, Music for Existing.
For today’s listening, I’m recommending two great records by pianist and composer Andrew Hill. Part of a generation of influential jazz pianists who all debuted in the early ‘60s and dominated the jazz realm throughout the ‘70s and into the ‘80s – people like Herbie Hancock, McCoy Tyner, and Chick Corea – Andrew Hill carved out a truly unique sound both in playing style as well as in composition. He released a string of records on Blue Note between 1964 and 1970, containing mostly his own innovative compositions and featuring a spectacular cast of musicians. Perhaps because he preferred to play original work rather than other people’s, he often goes unmentioned in the conversation, but dig into his albums and you will find a unique and intricate sonic world like no other.
Starting off with a slightly odd entry in Hill’s catalogue, Dance with Death was recorded in 1968 but released twelve (!) years later, in 1980. The album kicks off with “Yellow Violet,” a statement piece that showcases Hill as a composer – constantly playing with the tension between traditional rhythmic patterns and swing and more avant garde-leaning dissonance in his harmonies. Even though his pieces are littered with odd time signatures and other irregularities, often challenging his musicians and himself to put together coherent solo performances, it always feels organic and natural, almost like a casual stroll through a thicket. Check out “Fish ‘n Rice,” at first glance another “mainstream” bluesy piece that becomes a springboard for soloists Joe Farrell on sax and the great Charles Tolliver on trumpet (of Strata-East fame) to deliver some incredible work. I also have to mention drummer Billy Higgins’ clave / latin rhythmic patterns on this album, gelling together an otherwise awkward and dissonant sounding title piece.
Lift Every Voice was released at the tail end of Hill’s tenure at Blue Note, recorded during the (brief) time when it was en vogue to use choir in jazz (Donald Byrd’s “A New Perspective” comes to mind). The title track is an adaptation of “Lift Every Voice and Sing,” an important piece of music recorded at an important time in black history (civil rights movement). The album has an almost religious feel but is also forward-thinking and structurally and melodically uncomfortable in the best kind of way. I can’t think of a jazz record quite like this to be honest. Besides the vocal contributions this album also showcases Andrew Hill’s almost “aloof” and explorative way of playing. You can hear him find new rhythmic and melodic patterns on the fly, searching and experimenting, thinking with his hands. This record, again, has amazing performances by Hill’s band, specifically by underground trumpet hero Woody Shaw on “Hey Hey” and “Lift Every Voice” as well as the wailing tenor sax of Carlos Garnett (apparently one of his very first recording dates, which is crazy if you listen to the confidence in his playing).
Dance With Death - Andrew Hill (46m, no vocals)
Spotify / Apple Music / YouTube Music / Amazon Music / Tidal
Lift Every Voice - Andrew Hill (70m, choral vocals on most tracks)
Spotify / Apple Music / YouTube Music / Amazon Music / Tidal
Have a great Thursday.
