William Hill III: Keep it Movin'

The story surrounding the young Detroit pianist William Hill III reads like many in today's jazz world—raised in the fertile ground of a dynamic local jazz scene and then on to New York to pursue the music. This is the case even when that local scene is one of the most prolific in the history of jazz in Detroit—the best tend to move on, in Hill's case, to the acclaimed Manhattan School of Music. While steering steadily through that modern course of action, the pianist has managed to gain ground as a bandleader, producing two albums and leading a trio through numerous performances, including a slot at the 2025 Detroit Jazz Festival.

Keep it Movin' has the sound of a modern jazz trio that has been on the road for years, paying dues, with Hill's personal contribution behind the piano possessing remarkable maturity. For a young artist somewhat unknown to the public, casting an ear on those who came before them is inevitable. In Hill's case, the playing on the pianist's second offering has been frequently compared to Oscar Peterson, while fragments of the late, great Mulgrew Miller might come to mind. In any case, the point is made— Hill, no matter what his age or level of practical experience, can play.

Hill is joined by a pair of new generation New York players in bassist Chet Carlson and drummer Mathew Fu.

The title track speaks to all of the finer points of Hill's playing. There is a deeply grooved rhythmic impetus articulated by Hill's highly melodic sense and advanced facility. The up-tempo start shifts to a more cerebral and imaginative context with "A Different World," the track where we find the trio playing things out to the creative perimeter of the tune. Fu's deft touch and intricate use of polyrhythms hold the music afloat, allowing Carson to act as a veritable second lead instrument in addition to Hill's orchestral explorations within the harmonic bones of the tune. The track is perhaps the most eclectic of the eight compositions offered, and creates an image that is unique in the jazz piano trio lexicon. The chemistry found here is elite in nature, a read and react, conversational gem. In the end, the album's second selection is clear evidence that raises this recording above the ordinary.

"It's Time to Go" adds more to the dimensional impression of Hill as an overall artist. Here we experience the more thoughtful, pensive aspects of his approach. There is a wonderful connection to masters of the past, a definitive confidence in what he is doing, and a great ability to listen and react to the palette of musical colors being presented to him by his mates on the bandstand, or in this case, the studio. His harmony playing is tasteful and never overplayed, while his melodic insertions bear reference to a composer's mind. Again, the term "maturity" applies, and only in reference to his tender age.

"Details, Details, Details" is a dynamic piece that swings ever so gently, like an afternoon stroll down the Detroit River Walk. Along with "Stay the Course," these final two tunes find the pianist slightly more at the helm of the trio, as opposed to the equal partnership displayed on most of the album. The latter swings hard, with Fu and Carlson in push mode. Fu, for his part, swings with lightning quick facility, not allowing for his mates to jump ship at any point. Hill plays the harmony lightly, while displaying his fluid, jump- started mastery.

The jazz piano trio in many ways, is a genre unto itself. The innovators of this intimate form are diverse in their musical identities. Bud Powell, Ahmad Jamal, Bill Evans, Keith Jarrett and Hal Galper are all very different players in comparison. In Hill's case, it is still way too early to figure out where he fits into this scenario. Keep it Movin' goes a long way in introducing us to his special abilities. What is on the horizon is, of course, unknown, but the forecast is highly positive.

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