Monday, April 23, 2007

The weblog of The Bad Plus has a very well written appreciation of Andrew Hill focusing on his compositional style: "Like Thelonious Monk and Herbie Nichols, Hill's concept stemmed from deep knowledge of standard musical craft plus a determination to never use that craft for an end that wasn't flavored by the surreal."

Illasounds has posted a brief Hill tribute podcast: "A tribute to pianist Andrew Hill. Andrew Hill is heard on excerpts from: Black Fire (from Black Fire, Blue Note 1963); Yokada, Yokada (from Judgment!, Blue Note 1964); Le Serpent Qui Danse (from Andrew!!!, Blue Note 1964); Tail Feather (from Eternal Spirit, Blue Note 1989); Refuge (from Point of Departure, Blue Note 1964)."

The New York Times has a lengthy obituary: "It took almost 40 years for Mr. Hill’s work to be absorbed into jazz’s mainstream. From the first significant album in his discography (“Black Fire,” 1963) to the last (“Time Lines,” 2006), his work is an eloquent example of how jazz can combine traditional and original elements, notation and pure improvisation, playing both outside and inside strict time and harmony."

Tom Hull has posted selected reviews of Hill's recordings: "One result of Hill's comeback is that his Blue Note catalog has largely been returned to print, including a treasure trove of previously unreleased material passed on to Mosaic. For what it's worth, I've pulled the following data on what I've heard. Like most of what's in the database, this list was assembled over time with evolving criteria. At some point it would be nice to go back and spend a few days reviewing the whole set. I wonder now whether the legendary Point of Departure and/or the solo Verona Rag -- the first two records I encountered below -- might not fare better."

The mp3 blog Destination out has reactivated their post with tracks Compulstion LP. "Andrew Hill is one of the great jazz pianists of the past forty years. Though not as celebrated as his Blue Note labelmates Herbie Hancock and McCoy Tyner — we could easily hang that sorrowful tag “musician’s musician” on Hill — his body of work is no less essential, and easily as influential. Current vanguard pianists such as Vijay Iyer and Jason Moran cite Hill as a singular influence, and both have performed with him; sometime Wilco guitarist Nels Cline is also a fan."

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