This reissue contains not only Hill’s original LP, but also a previously unreleased session from four months prior. On this earlier session, an entirely different lineup plays three of the tunes from Grass Roots, along with two numbers from deep within the vault — "MC," a tribal 12/8 blues, and "Love Nocturne," an angular quasi-ballad. Thanks to the juxtaposition of the two sessions, we are afforded a rare treat: a chance to listen closely to the stylistic contrasts between Lee Morgan and Woody Shaw, Booker Ervin and Frank Mitchell, Ron Carter and Reggie Workman, and Freddie Waits and Idris Muhammad. (Guitarist Jimmy Ponder also appears on three of the five new tracks.) We also get to hear what these different lineups bring out in Hill, both as a pianist and a composer.
On the whole, Grass Roots is "inside" compared to Hill’s more representative Blue Note masterpiece, Point of Departure. "Venture Inward" and "Bayou Red" are the most advanced pieces, while the calypso "Mira" and the boogaloo "Soul Special" traverse more familiar Blue Note terrain. The title track, with its deliberately square melody, is an excellent sample of Hill’s fractured, fragmented style.
The alternate takes and new tracks are less energetic, although Woody Shaw sounds more in his element than does Lee Morgan. And whereas Booker Ervin cooks a variegated stew containing traces of Trane, Dexter, and Johnny Griffin, Frank Mitchell sounds almost like a carbon copy of Wayne Shorter. Ponder’s tasty licks are in the style of early Pat Martino.
Tracks: 1. Grass Roots 2. Venture Inward 3. Mira 4. Soul Special 5. Bayou Red 6. MC 7. Venture Inward (alt.) 8. Soul Special (alt.) 9. Bayou Red (alt.) 10. Love Nocturne
Personnel, 1-5: Lee Morgan, trumpet; Booker Ervin, tenor saxophone; Andrew Hill, piano; Ron Carter, bass; Freddie Waits, drums
Personnel, 6-10: Woody Shaw, trumpet; Frank Mitchell, tenor saxophone; Andrew Hill, piano; Jimmy Ponder, guitar; Reggie Workman, bass; Idris Muhammad, drums
I love jazz because it is both challenging and exhilarating, and the endeavor of improvisation is the highest form of art.
I met so many great musicians--including my two earliest heroes, Maynard Ferguson and Dizzy Gillespie--by attending concerts
and being willing to treat them with the respect they deserve.
The best show I ever attended was the Pat Metheny/Ornette Coleman Song X concert at Cornell University.
The first jazz record I bought was an RCA compilation by Dizzy Gillespie.
My advice to new listeners is to not be afraid to listen to something because you're not familiar with the artists or the band or
the genre or anything - this is music that is best experienced through discovery.