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

One of the most multifaceted saxophonists to come out of the 1970s-80s jazz avant-garde, Julius Hemphill exuded both fervid power and delicate sensitivity, always with an underpinning of swing to help anchor him within the jazz tradition. While his iconic releases like Dogon A.D. (Mbari, 1972) and Flat-Out Jump Suite (Black Saint, 1980) are rightly considered classics, exemplifying Hemphill's rich harmonic sensibility and improvisational prowess, sometimes forgotten are the wonderful duet releases he recorded with one of his go-to colleagues, cellist Abdul Wadud. Documented on albums like Live in New York (Red, 1976) and Oakland Duets (Music and Arts, 1992), these encounters showcase Hemphill's deeply-rooted soulful temperament, catalyzed sparklingly when in the company of the always-sympathetic Wadud, whose command of his instrument could generate either subtle nuance or a riveting groove as needed. It is thus not at all surprising to see the four string players in the Hemphill Stringtet delivering their own homage to the maverick composer and improviser, and they exhibit that distinctive amalgam of raw energy and emotional depth that characterized Hemphill's best work.

The most familiar artist here is Tomeka Reid, whose cello has invigorated plenty of recordings of late, especially on her own releases, such as 2024's 3+3 (Cuneiform), or her under-recognized duet with another inventive saxophonist, Nick Mazzarella, on Signaling (Nessa, 2017). Her partners, violinists Curtis Stewart and Sam Bardfeld and violist Stephanie Griffin cannot be overlooked, however, as their ability to merge their voices seamlessly provides the album with much of its gorgeous chamber aesthetic, while still finding room for their improvisations to flourish.

The album begins with one of Hemphill's most well-known compositions, "Revue," and it is given the ideal treatment by the quartet, with the tune's poignancy and subtle bounce conveyed perfectly, along with solo opportunities for all four musicians. The violinists get their turn first, and listening to them soar over the firm foundation provided by Reid is a delight. Griffin and Reid then get their moments, with interjections and commentary by the others, allowing for some feisty collective soloing before the piece concludes.

We are then treated to a Charles Mingus suite, Mingus Gold, which Hemphill in fact composed for string quartet. Hemphill's take on "Nostalgia in Times Square," "Alice in Wonderland" and "Better Get Hit in Your Soul" provides a glimpse of one idiosyncratic musician refracted through the perspective of another; both artists' work could be both exuberant and pensive in equal measure, and both traits are present in these renderings. The arrangements are especially fine, with multiple layers that make expert use of the tonal and dynamic potential of the four instruments. It is music best appreciated on an excellent stereo or set of headphones, as it captures the individual musicians' contributions as well as the collective product of their artistry. "Better Get Hit in Your Soul" is especially invigorating, with the four musicians in stunning rapport, an infectious gospel-hued triumph.

The album concludes with a few lesser-known Hemphill compositions. "My First Winter" has a melancholy beauty with an especially rangy solo from Bardfeld, and it segues into "Touchic," possessing a restless momentum that quickens the pulse, particularly during Griffin's passionate solo as it crests over the rhythmically-charged playing of her colleagues. "Choo-Choo" concludes the album fittingly, with a captivating bit of collective soloing fueled by Reid's sinewy ostinato, reflecting the fundamental energy and passion at the heart of Hemphill's muse. It is a wonderful tribute to one of jazz's most vital voices.