By Nick Catalano
Long ago Andrew Hill chose a path in jazz which was destined to assure him a lonely existence and that is exactly what has happened. Embracing a compositional style that featured elusive harmonies, esoteric melodies and abstract rhythm structures, Hill could hardly hope to win over mainstream club audiences. However, the Chicago native who studied under Paul Hindemith, steadfastly pursued his unique muse and eventually won over many critics and musicians in a sketchy career that has resulted in an impressive compositional legacy. Legendary Blue Note Record producer Alfred Lyon once proclaimed Hill his "last great protÃÂÃÂÃÂégÃÂÃÂÃÂé." The composer's 1960's Blue Note sessions were released in a seven-CD boxed set by Mosaic Records and continue to promote considerable discussion among jazz cognoscenti.
After a long period of relative inactivity which added to his obscurity, Hill moved to New York about five years ago, formed a sextet and recorded "Dusk" (Palmetto Records) his first album in ten years. He also performed at Jazz at Lincoln Center, opened the World Music Institute's interpretations series, and led the sextet in engagements at the Knitting Factory, The Jazz Standard and Birdland.
Last week at Birdland he amassed a huge aggregation of musicians (11 plus the sextet) to deliver his latest compositional ideas.
The reed section brought all of their instruments (bass clarinets, flutes, etc.) the brass section featured a tuba and the bandstand was buried in a sea of charts fresh from the copyist. The results were disappointing for several reasons. Hill's music with its tricky harmonies demands exact pitch standards and not enough time was taken to rehearse the music and adjust the sound to Birdland's acoustics. A muddy cacophony of colors emerged together with a loss of crispness in ensemble passages. The improvisational solos were rendered nicely but the answering tutti statements by this huge band were sluggish and uncertain. Hill played some haunting music during his piano interludes but because he chose to march from the piano to the leader's platform (sharing the conducting duties with one of his sidemen) the performance was contorted. Still the ideas of "Dusk" shone through and the improvisation of Hill's unique style could not be missed. Disappointed audience members would do well to listen to "Dusk" because Hill's composing skills continue to compel and his contribution is significant.
Guitarist Mark Elf sent us a preview of his latest Jen Bay Release "Dream Steppin'" and it is a winner. Elf chose Lewis Nash and Neal Miner to accompany him and he surely made a great decision. Unfortunately, the release date isn't until March 26.
