The Hemphill Stringtet: The Hemphill Stringtet Plays the Music of Julius Hemphill

Let us borrow a famous tagline from the dairy industry: Got Hemphill? If not, it is time to take a closer listen. Julius Hemphill (1938-1995) was a towering figure in the creative music scenes of both St. Louis, where he co-founded the Black Artists' Group (BAG), and New York's vibrant loft jazz scene of the 1970s and '80s.

At a time when Miles Davis was going electric and fusion bands were battling for airtime against the neo- conservative 'young lions,' Hemphill was forging a different path. With the groundbreaking World Saxophone Quartet (WSQ), alongside Oliver Lake, Hamiet Bluiett and David Murray, he created an alternate vision of jazz steeped in composition, groove and daring exploration.

Hemphill's influence is still deeply felt today, particularly in the work of his student Tim Berne and longtime advocate Marty Ehrlich. Ehrlich, a tireless Hemphill archivist, curated The Boyé Multi-National Crusade for Harmony: Archival Recordings, 1977-2007 (New World, 2021), an expansive seven-CD box set that shines a spotlight on Hemphill's wide- ranging output. One of the discs in that set featured the non-improvising ensemble Daedalus String Quartet performing "Mingus Gold," Hemphill's arrangement of Charles Mingus compositions for string quartet.

This new release reimagines that concept with a fresh lineup of improvising musicians: The Hemphill Stringtet, featuring violinists Sam Bardfeld and Curtis Stewart, violist Stephanie Griffin and cellist Tomeka Reid. Bardfeld is well-known for his work with Roy Nathanson's Jazz Passengers, and Reid, an AACM member and cornerstone of Chicago's creative music scene, seems to be everywhere at once. Stewart and Griffin bring deep experience from their primary groups, PUBLIQuartet and Momenta Quartet, respectively.

This project deepens the ongoing reevaluation of Hemphill's remarkable body of work. The album opens with "Revue," originally written for the World Saxophone Quartet, and it bursts with a bright, full-bodied melody evocative of Aaron Copland's Americana. "My First Winter/Touchic," another WSQ-era piece, begins with a gentle fairytale-like melody that soon dissolves into a cosmic swirl of texture and pulse. Hemphill's playful side emerges in "Choo Choo," a nod to Duke Ellington's classic train motifs, reimagined with rhythmic flair.

The centerpiece of the album is "Mingus Gold," Hemphill's tribute to the legendary bassist-composer. Originally composed for string quartet, the piece seamlessly integrates "Nostalgia in Times Square," "Alice in Wonderland," and "Better Get Hit in Your Soul" into a rich, cohesive suite. Reid's cello offers the grounding resonance of Mingus' voice, while the other strings glide through the melodies with grace and drive.

This recording not only honors Hemphill's compositional brilliance, but also showcases the enduring vitality of his vision, where jazz, chamber music, and improvisation coexist in a sound entirely his own. It is a reminder that Hemphill's music still has plenty to teach us, and plenty of room to grow.

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