Post Bop / Avant-Garde Jazz / Progressive Big Band / Hard Bop / Exotica • United States
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Andrew Hill (born June 30, 1931 – April 20, 2007) was an American jazz pianist and composer. Hill first recorded as a sideman in 1955, but his reputation was made by his Blue Note recordings as leader from 1963 to 1969, which featured several other important post-bop musicians including Eric Dolphy, Bobby Hutcherson, Joe Henderson, Freddie Hubbard, Woody Shaw, and Tony Williams, as well as two of John Gilmore's rare outings away from Sun Ra. Hill also played on albums by Hutcherson (Dialogue, 1965), Henderson (Our Thing, 1963), Hank Mobley (No Room for Squares, 1963), and Sam Rivers (Involution, 1966).

Hill had rarely worked as a sideman since that time, preferring to play his own compositions. As a result, his public exposure was severely limited. He obtained a doctorate in music from Colgate University and served as the university's composer in residence from 1970 to 1972. He later taught in
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ANDREW HILL Discography

ANDREW HILL albums / top albums

ANDREW HILL So In Love With The Sound Of Andrew Hill album cover 0.00 | 0 ratings
So In Love With The Sound Of Andrew Hill
Hard Bop 1960
ANDREW HILL Black Fire album cover 4.33 | 13 ratings
Black Fire
Post Bop 1964
ANDREW HILL Judgment! album cover 3.53 | 9 ratings
Post Bop 1964
ANDREW HILL Point of Departure album cover 3.85 | 17 ratings
Point of Departure
Post Bop 1964
ANDREW HILL Smoke Stack album cover 3.71 | 7 ratings
Smoke Stack
Avant-Garde Jazz 1966
ANDREW HILL Compulsion album cover 4.18 | 11 ratings
Avant-Garde Jazz 1967
ANDREW HILL Andrew!!! album cover 3.89 | 9 ratings
Post Bop 1968
ANDREW HILL Grass Roots album cover 4.10 | 5 ratings
Grass Roots
Post Bop 1968
ANDREW HILL Lift Every Voice album cover 3.21 | 7 ratings
Lift Every Voice
Exotica 1970
ANDREW HILL Invitation album cover 0.00 | 0 ratings
Post Bop 1975
ANDREW HILL Spiral album cover 3.50 | 2 ratings
Post Bop 1975
ANDREW HILL One For One album cover 4.50 | 1 ratings
One For One
Post Bop 1975
ANDREW HILL Hommage album cover 0.00 | 0 ratings
Post Bop 1975
ANDREW HILL Nefertiti album cover 3.08 | 4 ratings
Post Bop 1976
ANDREW HILL Divine Revelation album cover 3.00 | 1 ratings
Divine Revelation
Avant-Garde Jazz 1976
ANDREW HILL Blue Black album cover 4.12 | 4 ratings
Blue Black
Post Bop 1977
ANDREW HILL From California with Love album cover 0.00 | 0 ratings
From California with Love
Post Bop 1979
ANDREW HILL Dance With Death album cover 4.06 | 8 ratings
Dance With Death
Post Bop 1980
ANDREW HILL Strange Serenade album cover 0.00 | 0 ratings
Strange Serenade
Post Bop 1980
ANDREW HILL Faces of Hope album cover 0.00 | 0 ratings
Faces of Hope
Post Bop 1980
ANDREW HILL Shades album cover 0.00 | 0 ratings
Post Bop 1987
ANDREW HILL Verona Rag album cover 0.00 | 0 ratings
Verona Rag
Post Bop 1987
ANDREW HILL Eternal Spirit album cover 3.50 | 1 ratings
Eternal Spirit
Post Bop 1989
ANDREW HILL But Not Farewell album cover 0.00 | 0 ratings
But Not Farewell
Post Bop 1991
ANDREW HILL Dusk album cover 4.12 | 4 ratings
Post Bop 2000
ANDREW HILL Passing Ships album cover 4.76 | 8 ratings
Passing Ships
Progressive Big Band 2003
ANDREW HILL Mosaic Select 16 album cover 5.00 | 1 ratings
Mosaic Select 16
Post Bop 2005
ANDREW HILL Time Lines album cover 4.00 | 3 ratings
Time Lines
Avant-Garde Jazz 2006
ANDREW HILL Mosaic Select 23: Andrew Hill - Solo album cover 3.00 | 1 ratings
Mosaic Select 23: Andrew Hill - Solo
Post Bop 2006
ANDREW HILL Dreams Come True album cover 0.00 | 0 ratings
Dreams Come True
Post Bop 2008

ANDREW HILL EPs & splits

ANDREW HILL live albums

ANDREW HILL Live At Montreux album cover 3.00 | 1 ratings
Live At Montreux
Post Bop 1975
ANDREW HILL Les Trinitaires album cover 0.00 | 0 ratings
Les Trinitaires
Post Bop 1998
ANDREW HILL A Beautiful Day album cover 4.75 | 2 ratings
A Beautiful Day
Post Bop 2002
ANDREW HILL The Day the World Stood Still album cover 3.00 | 1 ratings
The Day the World Stood Still
Progressive Big Band 2003
ANDREW HILL Solos - The Jazz Sessions album cover 0.00 | 0 ratings
Solos - The Jazz Sessions
Avant-Garde Jazz 2013

ANDREW HILL demos, promos, fans club and other releases (no bootlegs)

ANDREW HILL re-issues & compilations

ANDREW HILL The Complete Blue Note Sessions (1963-66) album cover 5.00 | 1 ratings
The Complete Blue Note Sessions (1963-66)
Post Bop 1995
ANDREW HILL Pax album cover 4.17 | 3 ratings
Post Bop 2006
ANDREW HILL Change album cover 0.00 | 0 ratings
Avant-Garde Jazz 2007
ANDREW HILL Whataya Want’ Dig album cover 0.00 | 0 ratings
Whataya Want’ Dig
Post Bop 2016

ANDREW HILL singles (0)

ANDREW HILL movies (DVD, Blu-Ray or VHS)

.. Album Cover
0.00 | 0 ratings
Solos: The Jazz Sessions
Post Bop 2010


ANDREW HILL Mosaic Select 16

Album · 2005 · Post Bop
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Mosaic Select #16 Andrew Hill, is easily one of the best of the select series of reasonably priced 3CD sets that the company has put out in the last 10 years, The sets focus on obscure or neglected artists, and Mosaic produces these sets limited to 5000 units, and all their sets can bring 2 or 3 times what the originally sold for, though in recent years the prices have dropped considerably in the secondary market, so if you have your sights on any of the out of print sets, don't wait, if the economy improves, the prices will rise, in fact, I have noticed many of these 3 CD sets selling at original cost to just 25 to 50% above that price.

Many of you may not know, and here is a tip, many of the Mosaic Select issues are available for download at major on line retailers as "The Capital Jazz Vaults Series" including this one, I suspect that is another reason for the bottom falling out of the market on these, If your some one who doesn't need the physical product or the quite good liner notes, discographies and essays, that may be the way to go, I did purchase the Don Pullen set in this format, it cost less than 20 dollars, wow!

Michael Cuscuna, Co founder of Mosaic, contributes the fantastic liner notes, he gives a first hand account of the music, why it laid in the Capitol vaults for 30 plus years, and many thoughts from the late pianist on the music, Liberty Records had bought out Blue note in 1967, and Liberty went a much more commercial direction, therefore artists like hill were on the out side looking in.

Disc 1 is music that reminds me of Point Of departure from 1964 on Blue Note, with the exception of "Diddy Wah" and "Ocho Rios" which bring to mind the Grass Roots session, the last 2 tracks "Monkash" and "Mahogany" and the first 4 tracks on disc 2 "Illusions","Poinsettia", "Fragments" and "Soul Mate" are Quartet performances augmented by a string quartet, these are all interesting, with a few tracks being focused on the string quartet, and a few funkier pieces that seem to not really need the strings, but still an interesting experimentation.

Disc 2, after the 4 string quartet numbers, we have some very interesting trio music from 1967, With Ron Carter on bass and a drummer named Teddy Robinson, he played on Donald Byrd's Chant album, and disappeared into obscurity, This Robinson is no slouch and offers fine support for some very free sounding piano music, very complex, and any Hill fan needs to hear these trio performances, Andrew actually plays some soprano sax on "Six at the Top" and Organ on sections of "Nine at the Bottom" and "Resolution", again, very interesting hearing the the experimentation in the music.

Disc 3 is the main reason to acquire this set in my opinion, both of these sessions from 1967 are stellar, free jazz, but not completely free from melody or structure, very much in the vein of Some of Sam Rivers Mid 60's Blue Notes, in fact it's a shame this music was not released until this set, for both sessions feature Sam Rivers to great affect, The Oct. 1967 session also features Woody Shaw on trumpet and Howard Johnson of Tuba and baritone sax, This music is tight and crisp and definitely lifts the legacy of Andrew Hill, The Feb.1967 session features Rivers again with Robin Kenyatta on alto, and Nadi Qamar playing African Thumb Piano and assorted bells to add some color to the music, unfortunately this session could only be found in the original mono Van Gelder session tapes, no stereo copy could be located, but the sound is still remastered and each instrument is clear, the latter session is a little more laid back than the previous, especially on track 6 "Awake" which reminds me of some of the music on Bobby Hutcherson's Dialogues album with Andrew.

I highly recommend this set, It is now out of print, but can be had a reasonable prices, and that Capitol Jazz Vault Download, Any one who likes advanced hard bop that borders at times on free will enjoy this wildly varied set, this set cleaned out the vaults, with the Passing Ships issue and a few others, every ounce of Hill's music with Blue Note is now available to the public.

ANDREW HILL Passing Ships

Album · 2003 · Progressive Big Band
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Passing ships is a slice of modern jazz that belongs In every fans collection. A session from 1969 that sat in the vaults unreleased until 2003, If memory serves me, Producer Michael Cuscuna had heard about this rumored session for years, but Andrew kept saying it sounded awful and it wasn't worthy of release, As it turned out, the problem was the Session reals were missing a track or 2, but finally, the entire session tapes were found, and Cuscuna was blown away by the sound and the performance I have to say there really are some great compositions on Passing Ships, The title track for one, as well as "Noon Tide" the lightly funky "Plantation Bag" and "The Brown Queen". Another treat from Passing Ships is the criminally underrated saxophonist Joe Farrell and the equally unappreciated Dizzy Reece on trumpet, Woody Shaw too, all three fire off some fantastic solos throughout the session, Ron Carter also provides a solid elastic foundation on bass, much like his work with the Davis Quintet. A large band on display, with Howard Johnson on Tuba, Julian Priester on Trombone and Bob Northern on French Horn, A lot of colors flourish throughout Passing Ships, Sometimes the arrangements feel like a band twice its size. Lenny White also provides solid drum work on the album, only his second ever recording session! Another interesting thing about passing ships, at the time of its release in 2003, Andrew was just starting to get back into this style again, he had released Dusk in 1999 and A Beautiful Day in 2002, so when Passing Ships Came out it was sort of a Rosetta Stone to those great albums, Those albums, along with Passing Ships, were some of the first real challenging Modern Jazz albums I got into out side of the Davis Coltrane sphere, and remain some of my favorites, All of Hill's Blue Note's are well worth a listen as well. Passing Ships might be hard to find at a decent price, It was a limited edition in 2003, and now long out of print, I have always wished that they would release Passing Ships On vinyl. You can check it out on you tube though.

ANDREW HILL Lift Every Voice

Album · 1970 · Exotica
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Sean Trane
A bit of a UFO in AH’s discography, LEV is, as its title indicates, a vocal-jazz album, although I wouldn’t call it sung-jazz proper. It develops some highly interesting choir vocals use and techniques that were most likely then-groundbreaking. Ok the music behind these great vocal arrangements (courtesy of Lawrence Marshall) is not always that advanced, but it’s the marriage between the two sections which make the interest of the present album. So as one of AH’s last album on Blue Note, LEV is made of a quintet and that already-mentioned small choir section.

You’d probably think that this is a relatively conventional soul-jazz album, but beware, because if the quintet is mostly “standard”, the real surprise comes from the extremely original and inventive use of the choir. Opening on the enthralling 8-mins Hey, the album plunges into intense grooves and spell-binding choir chants, something that vaguely resembles Magma’s Kobaian-vocals realm, but the music remains firmly jazz. Indeed, the choir chants and drones and shouts, often wordlessly, and you’ll find yourself mostly paying attention to their incantations, rather than the quintet, even if Andrew makes sure that it is the quintet’s album, rather that the choir’s, which in the context of the original version of LEV is not always fortunate for us.

For once, the RVG remaster reissue offer an interesting slew of bonus tracks (almost doubling the album’s running time), something different than alternate takes. Although these tracks come from a completely different session (from a year later) and feature a totally different line-up (save AH naturally) that includes Ben Riley, Ron Carter and Bennie Maupin to name just those, and what a difference it makes, too. The choir used is mainly as the same compositional tool as the previous session though, and in sonic terms, these bonus tracks melt right in with the original album, but the compositions and the intense execution are so superior to the previous session, that I don’t understand that this was never released bore or was released instead of the previous session.

Don’t get me wrong, here it’s not like LEV is a shooting star from another galaxy, but the asteroid did came from rarely explored outer reaches. I’ve heard similar choral experiments and not only from the Kobaian cluster (which probably heard this album before exploring their own space), but also I believe from Ornette. Anyway, maybe not that essential a listen, but it’s well worth the detour, that it is al least a must-hear.


Album · 1976 · Post Bop
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Sean Trane
Returning to a trio format, AH’s Nefertiti album shows him taking an interest in Egypt’s mythology some 8 or 9 years after the Impulse!’s “New Thing” wave. The present album sees the reunion of Andrew with his long-time collaborator Richard Davis on bass and also sees Sun Ra & Sanders collab Roger blank on drums. Anyway with its “n’importe-quoi” artwork, the present album is a bit of a pot-pourri,

It would certainly appear to a casual observer that the album’s foundation would lay in the opening 14-mins Blue Black, but Andrew takes a lengthy piano solo Blue intro, and the band finally enters around the 7th minute mark. From that moment onwards it seems that Andrew is thinking of McCoy while playing this extremely interesting second Black half. Just how interesting is the rest of this A-side is a matter of Relativity, but holding the distance is another thing, with a dissonant piece.

Certainly the album’s highlight is the 8-mins title track opening the flipside, were Hill’s spine-tingling’s piano tinkling plays to some stunning Davis bowed bass, while Blank’s drumming is anything but so. After the short clunky and drummy Hattie, Mindflower is a bit disjointed, as if the trio was playing different tunes and the unremarkable closer is more or less in the same mould.

An average AH album, one that would pass unnoticed if there wasn’t the fantastic title track to pull it out of anonymity, Nerfetiti is not an essential listen if you want to explore Hill’s discography, but it can be a worthwhile detour, if only for two 8-minutes passages.

ANDREW HILL Divine Revelation

Album · 1976 · Avant-Garde Jazz
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Sean Trane
I’m not sure what happened to AH during the early 70’s, as there is almost five years between recording, with the Blue Note period ending in 70 and his return for the label Steeplechase Records in 75 , of which I believe this is his second album upon his return. In the light of his new wave of albums’ titles, his retreat might have been of a spiritual nature, but I wouldn’t bet on it. If Invitation was recorded as a trio (as would Nefertiti a while later), DR is recorded as a quartet that includes Vass on sax and flute. And indeed, this writer prefers the quartet format as it allows for some variety, although I’d say that AH is in a fine form, playing up a storm on tracks like East 9th Street.

While most of the tracks on the opening side may appear rather standard 60’s stuff (or at least not in the avant-garde peak), both the highlights of July 10th and East 9th Street show that Andrew’s inspiration is certainly intact, even if not extremely sharp. Obviously it is the 25-mins title track that is the album’s foundation stone, an overlong solo piano intro that doesn’t see Vass’ sax & flute intervention until the 11th minute, White’s bass until the 13th, and Williams’ drums until the 15th for an unwelcome solo, the group finally playing together from the 17th minute onwards. Once the group is indeed together, the track does reach some interesting moments (around the 21st minute), but it sounds more improvised than written.

BTW, the Cd reissue holds an alternate take of July 10th as a bonus track. Well if AH’s return to business is definitely worth a listen, I’m not sure I would call it an essential oeuvre in Andrew’s discography. Depending on how you assess Hill’s importance in the overall scheme, you may want to have DR in your shelves or (like me rent it out from the library every decade or so.

ANDREW HILL Movies Reviews

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