Andrew Hill

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★★★★

Wow here I go again with another Andrew Hill archived release. It really makes you think, how could Blue Note sleep on such amazing work by one of their most intelligent and creative leaders? Unlike the last one I listened to (Passing Ships) this release is a quartet compared to his experimental big band setting. I'm sure Blue Note was having its own issues at the time and trying to stay competitive in an increasingly funky and R&B based world. But I'm happy this was let out of the dark and made its way to my ears. This is of course one of his freer albums, and with the members of the quartet, it's not hard to tell. Sam Rivers on tenor, Walter Booker on bass, and J.C. Moses on drums. With this group you're bound to have some sparks fly, maybe even more than that actually, perhaps a full blown inferno. 

"Violence" is the opening track that serves as a long maze that helps all the players present themselves in a very fiery manner. Rivers blows all he can into that poor horn and you can hear it reeling from each subsequent round of torturing it receives. Moses transforms himself into a silverback beating his chest trough the drums, and Hill essentially is patting him on the back the whole time. He makes the piano a bluesy drunken percussive instrument of his insanity. And of course it's not insanity, Hill is an extraordinary composer and he'd have this affair go no other way. Booker doesn't stay out either, he creates these rumbling tidal waves of bass that resonate all through the other players. The bluesy theme in Hill's playing is well translated into the next song, "Pain", in which he and Booker play off each other. There's a very straining sense of focus that both players give off on this short piece, even though it still swings. Moses steps in briefly but he's just there to keep time for the most part. But Moses really comes to the forefront on "Illusion", where he throws up a Latin front and everyone seems to follow right along. As Rivers comes up to the stand you can hear him play along but slowly start to draw something else out of the Latin mood, and Moses responds with a fiery and rhythmic solo towards the end. 

"Hope" starts off its first couple of minutes as a sweet and solemn ballad but quickly transitions into an unruly barbaric track that combines Rivers's skronking with Hill's bouncy and greatly improvised playing. It does bear a resemblance to the first track, but with perhaps a bit more restraint. "Lust" is the quietest track on here, and perhaps the most romantic, in a very Andrew Hill sort of way. While he drifts through this river of emotion and bliss, Booker keeps pace like a sort of human heartbeat; accelerating at all the right moments. Ending with the track "Desire" is a bold and confident statement by Hill. He could've easily ended with "Lust" and filled the environment with mystery and longing for love. Instead he tightens everyone up and goes a little nervous and jittery on the keys himself. Rivers is at his most controlled, in both tone and range, yet he is still given ample opportunity to try and break free. And he nearly gets there, but thanks to Hill you get a composition that is even more mysterious and daunting compared to the previous. 

This is not an easy listen for most, but if you know Andrew Hill during this period then it's no surprise. There is great variety in this album and great interplay between every member of the quartet. A couple examples being between Hill and Rivers, as well as Hill and Booker. Hill and Booker have an intimate and focused relationship throughout, sometimes built upon emotion and other times leaning on deep focus. While Rivers serves as a great counterpart and companion to Hill, pushing him forward at every opportunity. I wish there was more by this quartet but then I think it would lose some of its magic. Great moments aren't meant to be milked. 

Favorite Song: Violence