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Andrew Hill: Time Lines
by Jim Santella
Pianist Andrew Hill gives his audience something different. He's not concerned so much with a comfortable rhythmic groove or spot-on ensemble tone quality as he is with the spontaneity and free will of jazz. He and the members of his quintet stretch out for creative soloing and combine cohesively for an interesting affair on Time Lines.
But the album's rhythms aren't meant to mesmerize, the album's tonal resonance isn't always pure, and the smooth, linear flow of the music isn't ...
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by John Kelman
Sadly, art is often not recognized until the artist is gone. That certainly appeared like it was going to be the fate for pianist Andrew Hill. Despite releasing a spate of innovative records for Blue Note in the 1960s, he seemed perennially overshadowed by the artists he worked with, including vibraphonist Bobby Hutcherson and saxophonist Joe Henderson.
Thankfully, there's been a concerted effort in recent years to reissue his Blue Note oeuvre, as well as dig out some archival gold ...
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by Mark F. Turner
Andrew Hill Time Lines Blue Note 2006
You would think that after playing for more than half a century, performing with greats like Miles Davis and Charlie Parker, leading and producing acclaimed recordings with names of Eric Dolphy, Lee Morgan, and many others, that pianist/composer Andrew Hill--who is nearly seventy years young--might be slowing down. Thankfully for jazz fans, this is not the case. The passage of time ...
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by Chris May
At the venerable age of 68, Andrew Hill has made an album which is as lithe, fearless, exhilarating, luminous, exploratory, at-the-barricades and immortal as anything he's ever recorded, including his signature 1964 masterpiece, Point Of Departure.
It's an extraordinary achievement. It's hard to think of more than half a dozen artists over 65 who've defied chronology and creeping conservatism to the same degree, harder still to find any pushing 70. Paul Motian and the Electric Bebop Band's Monk And Powell, ...
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by Nic Jones
Time Lines marks the beginning of Andrew Hill's third professional association with the Blue Note label. Based on the results of the previous ones, he has a lot to live up to, but he proves himself more than equal to the challenge.
From the time of his earliest work, Hill's music has had to be dealt with on its own terms, and there is no evident decline in his individuality here. This, plus the fact that he has maintained remarkable ...
Continue ReadingAndrew Hill: Andrew!!!
by Nic Jones
Trying to locate a “primary genre" for Andrew Hill's music is no easy task, not least because--like Monk, Herbie Nichols, and Pee Wee Russell--his music is so resolutely his own that the only frame of reference that can be applied to it is the music of the individual.
Hill produced a body of recordings for Blue Note that was notable not only for its individuality but also for its consistently high standard. This came about not least because musicians had ...
Continue ReadingAndrew Hill: Blue Black
by John Kelman
After releasing no less than thirteen albums on Blue Note from 1963-69, pianist Andrew Hill then seemed to completely drop off the map until 1974, when he entered into another fertile period, making ten records for a variety of labels until 1980, when he would again fall silent. Hill carried considerably less star power then than he did in the 1960s, working, for the most part, with lesser-known players. Three of those ten 1970s recordings were solo efforts, including 1975's ...
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