You are reading the words of an Andrew Hill fanatic. The kind who has spent years poring over his music, track by track. And why not? Hill is a singular figure in jazz with a singular vision. Just as Art Tatum (apocryphally) learned to play via a player-piano roll he didn’t know was made by four hands, Hill sounds like he learned to play along with Bud Powell records that he didn’t know were warped.
“Warped” sounds pejorative. It’s not: It’s simply the best descriptor available for what Hill does with the conventions of bebop language. He takes the innovations of Herbie Nichols and—especially—Thelonious Monk yet further. It wasn’t an artistic path that anyone expected from a blues- and bebop-soaked pianist from Chicago’s South Side … but then there’d be little point to jazz if it conformed to expectation.
In addition to his distinctive pianistics, Hill was also a composer of renown, one who worked to break through jazz’s established formal conventions just as he did its harmonic ones. In the process, he incorporated a remarkable amount of contemporary classical thought (Hill studied with Hindemith) into the garden of the 1960s “New Thing”—and well beyond. The 10 tracks below aren’t enough to cover all his dimensions, but they’re a great place to start.
Listen to a Spotify playlist featuring all the tracks in this JazzTimes 10:
1. Andrew Hill: 'Refuge' (<i>Point of Departure</i>; Blue Note, 1965)
This critic does not buy into the orthodoxy that Point of Departure was the be-all, end-all of Hill’s career and avant-garde conception; however, “Refuge” is probably the single strongest piece he ever wrote. Its 6/4, 24-bar form is as indelible as it is difficult to describe: a linear melody in which phrase flows into phrase so that even as there are distinct sections, it’s hard to put boundaries on them. Following that come brilliant, highly venturesome improvs by Hill, altoist Eric Dolphy, trumpeter Kenny Dorham, bassist Richard Davis (Hill’s most frequent collaborator), tenorist Joe Henderson, and drummer Tony Williams. That astonishing lineup is the main reason why Point of Departure usually claims primacy in Andrew Hill’s catalog—primacy that “Refuge” comes awful close to singlehandedly justifying.