Customer Reviews

Dusk

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4 star:		(4)
3 star:		(0)
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As I sit here listening to this brand new Andrew Hill recording, "Dusk", I am trying very hard not to let my biases interfere with my objectivity. I have been an Andrew Hill FANATIC since the first time I heard the 1986 recording "Shades" (which by the way was one of the finest recordings of the 80s). This first exposure thrust me into a deep investigation of Hill's classic Blue Note albums, most of which I own multiple copies of. Frankly, I don't think I have ever heard an Andrew Hill recording that I did not enjoy.

In addition to my unapologetic bias, I must also confess that I have been waiting for this CD for about ten years. Andrew Hill has not released an ensemble recording since 1990's "But Not Farewell". He did release a solo piano recording in 1998, but I think Hill's music is best experienced with horns. My anticipation for this CD was heightened by the fact that I have caught this particular group (except for a different tenor player) live on two separate occassions and left each performance salivating for a recording to repeat the experience. Finally, the original release date for this CD was unforgiveably pushed back, adding to my frustration.

Keeping in mind my own biases and impatience for a new Hill recording; objectively how is the music? Although not as exhilirating an experience as the live performances (is a recording ever as good as live?), this is still a very satisfying CD. In addition to Hill on the piano, the musicians are Ron Horton - trumpet; Greg Tardy - tenor sax, clarinet, flute; Marty Ehrlich - alto sax; Scott Colley - bass; and Billy Drummond - drums. All of the musicians sound comfortable playing Hill's sometimes complex music, and are able to express their own individuality while remaining true to Hill's vision.

Hill's compositions have aptly been described as "thorny". They come in a variety of rhyhms,sometimes change rhythms within a single piece and usually take unexpected turns. His melodies can be somewhat dark, and are not usually the types of tunes you will be humming after one listen. Despite the challenges to the listener, if one can get past the periphery, the listener will be rewarded with a truly delicate beauty within the music.

Two of the compositions, Dusk and 15/8, also appear on the previously described solo recording, "Les Trinitaires". The benefit of having the two renditions to compare is that it provides the listener an opportunity to hear just how much Hill's music is enhanced by the addition of horns. Dusk has an underlying repeated bass line that evolves into a carribean rhythm by the time Ehrlich takes the last solo. 15/8 is a briskly paced piece with a typically understated Hill solo followed by passionate solos from Ehrlich,Horton and finally Tardy who is joined by Drummond for a duet reminisent of Trane and Jones. Tough Love is a solo piano piece that highlights the pleasures of Hill's piano playing. Light touch and use of space utilized to evoke mystery. T.C. is a touching tribute to Thomas Chapin with Tardy and Ehrlich playing simultaneous bass clarinets.

I purposely have limited my remarks regarding the individual musicians on this recording. Although every musician makes important contributions, the pleasure in this recording truly is in the music as a whole. Whith that said, I will not go into much more detail, but instead urge one and all to audition this disc and accept the invitation into the wonderful world of Andrew Hill.

P.S. - To the powers that be, don't make me wait another ten years for the next one!

It is unfortunately rare that I buy an album by a aging jazz great nowadays. Considering the ridiculous attempts to market them to a younger audience that most major labels have used to try and sell acknowledged masters of the form, it's no wonder that most of the old masters just stick to live gigs while disavowing studio recordings. Just look at Joe Henderson's unfortunate career choices with Verve and their ridiculous "concept / tribute" album series that they inflicted on him for the whole of the 1990s. And Horace Silver and McCoy Tyner's cheesy come-back albums on the revived but impotent Impulse! Label. Other than the major label fluke's that produced the last Cecil Taylor and Steve Lacy albums on Verve, there is a serious absence of recent vintage quality recordings by the medium's masters. That is where this disc comes in. It is one of those rare gems.

Andrew Hill is the artist responsible for Blue Note's mid sixties masterpiece "Point of Departure" a ground breaking semi-free album featuring the diverse talents of Joe Henderson, Eric Dolphy, Kenny Dorham and Tony Williams. A landmark album in many critics eyes, it established Hill's reputation as a writer of tricky but memorable changes and tempos. A free-er cousin to Oliver Nelson?s "Blues and the Abstract Truth", it is still a jazz musician?s favorite to this day.

Dusk is his first recording in 10 years, fortunately it's on an indie label. Do not let the title fool you, this is no dreary album by a washed-up, arthritic jazz pianist. His playing is as strong and creative as ever. His sextett features among the finest of today's young talent and there is fire and passion in their playing. It has the overall feel of an old Blue Note disc from the sixties, but with an aggreassive streak that can only come from a post-Coltrane world. Marty Ehrlich and Greg Tardy contribute saxophone duties and Tardy's playing on "15/8" is especially fearsome. Ron Horton is an up and coming new trumpet prodigy and his playing shows unique promise. Billy Drummond's drumming and Scott Colley's bass playing keep the majority of the tunes moving along briskly. And Andrew is no slouch either. As good as his playing is, it?s his ensemble writing that is even better. Nice, thick, polyphonic horn charts float over catchy shuffle vamps and multi-part compositions to create a tasty retro feel that is suitably updated to the current Downtown jazz scene's sense of aesthetics.

If you're looking for a swinging jazz album that isn't too "out there", but has some grit to it and some great writing, this is one for you.

I have a suspicion that Mr Hill approaches the great Mr Thelonious Monk in the quality of his writing and playing - take SEPTET from the CD DUSK as an example: Mr Horton's trumpet soars over a group improvisation; Mr Ehrlich's superb alto solo (herein confined to alto and on one track bass clarinet though this is not noted on the CD sleeve); followed by Mr Tardy's equally effective reply; as well as the beautiful colour in Mr Drummond's drum solo - and this track is just 12 minutes of this fabulous disk. As is usual with a recording led by Mr Hill all the compositions are his, the first three and last four of which are septet arrangements whilst the fourth TOUGH LOVE is a seven minute quirky, heartfelt, angular piano solo - speaking of which I unreservedly recommend his FROM CALIFORNIA WITH LOVE (Artists House) and VERONA RAG(Soul Note) - solo albums both. But on the CD DUSK, there's 'groove' on BALL SQUARE and take note of the close where free form blowing by all is followed by a short drum solo the brief chorus and out - what a close! There's 'ecstasy' on the alto solo climax of 15/8. There's 'sounds dark' with two bass clarinets on TC an exhilaration in memory of a brilliant musical creator Mr Thomas Chapin. But, dear listener, you could just focus on the bass of Mr Colley on TC which seems to have a major voice (and not just on this track) - plucked or arco - whether in trio or with the piano in the latter part of TC - it's a masterful performance. Unquestionably these musicians are at the top of their game, but they are brought to a higher level on this CD by having their talents interpret the writing, be guided by the arrangements and follow the guidance provided by Mr Hill whose integrity of vision for America's classical music has been unwavering for the good part of 40 years. He's nothing less than a national treasure.

mr. hill records so rarely that a review of less than five stars seems risky because he is an artist that deserves much wider recognition. most folks know him from a series of classic blue note records from the mid-sixties that were an adventurous blend of the free jazz of fellow blue noters cecil taylor, ornette coleman, and don cherry and the more straight hard bop of duke pearson and sonny clark, also mainstays at blue note(check out the bonafied five-star "point of departure"). "dusk" reveals mr. hill still working that fertile territory. "15/8" positively explodes out of the cd player as the soloists push and reach further with each passing bar, sort of like a sun ra piece. but then there is "tough love," a cerebral solo piano piece revealing an introspective artist meditating on a theme a la keith jarrett. mr. hill is master pianist, and this reviewer wishes there had been more solo work on this album. however, the talent in the septet is extraordinary. marty ehrlich (on sax)in particular is a talent deserving wider recognition. they really shine as an ensemble on the longer pieces "dusk," "sept," and the aforementioned "15/8." the sound is broad, ranging from the cool bop of blue note to free explorations to quiet studies of theme and form. this album makes you wish mr. hill put out an album a year!

This is a late-model Andrew Hill CD with very solid players. Ron Horton is on trumpet, Greg Tardy and Marty Ehrlich are on reeds, Scott Colley is on bass, and Billy Drummond is on drums. The title track is a long, multi-sectioned piece. Ron Horton's trumpet-playing stands out. He has a clear tone and a clear sense of what he's trying to say. "ML" kinds of gets by without making a big impression. "Ball Square"'s title alludes to a square-peg-in-a-round-hold feeling, and there's some of that trickiness in the music, but it has a strong hook. Billy Drummond essentially solos under the theme. "Tough Love" is a 7-minute-long Andrew Hill piano solo. "Sept" has an attractive theme and good sax solos in the middle. On "Sept", Ehrlich plays a little hotter, and Tardy more cerebrally. "T/C" has a neat free-time free section with bass clarinet and saxophone. "15/8" is the song's time signature. The band can play in that tricky signature, and the song is good, but the song seems like a bit of a stunt. The CD closes with the short solo piano "Focus".

I've seen reviews comparing this CD to Hill's classic "Point Of Departure", which has the same instrumentation. I don't really hear a similarity, since Andrew Hill's compositions changed over 25 years, and today's players are standing on the shoulders of the older musicians. I think "Point Of Departure" is better, but that is because some of the "Dusk" compositions seem overthought. Even though I like the longer songs - "Dusk", "Sept", "15/8" - there's an awkwardness to them. All the same, just because someone's CD isn't as good as their best CD, it doesn't mean it isn't worthwhile. If you like Andrew Hill, I think you'll like this one.

As always Andrew is with stellar musicians that are not afraid to step outside the mainstream. It's great to hear that these musicians from NYC have pursued the music of Mr. Hill and collaborated with him. The musicianship is exemplary, somewhat dramatic, the compositions challenging. I only wish that Andrew could have the chance to document more of his music. We all know that this will never happen in the United States.