POINT of DEPARTURE -Andrew Hill posted by Justin Scoville
Andrew Hill (1931-2007) was a masterful jazz pianist and composer whose impact on jazz is only beginning to be understood and appreciated. Largely overshadowed during his early career by both the monumental contributions of Miles Davis’s “Second Quintet” and John Coltrane’s cosmic forays into Free Jazz, Hill quietly amassed an impressive body of work during the 60’s and beyond. He fearlessly (and successfully!) combined elements of Free Jazz, Modal, Hard Bop, and Classical music into a fascinating, frothy brew of innovative jazz.
Point of Departure (1964) is one of Hill’s true masterpieces and a cornerstone of the Blue Note repertoire. His challenging material, ranging in emotional complexity from dirge-like hymns to crackling avant-garde anthems, is ably anchored by an on-point Tony Williams (drums) and joyously off-kilter Richard Williams (bass). Old pals Joe Henderson (tenor saxophone) and Kenny Dorham (trumpet) make up two-thirds of the horn section, with the fearless trailblazer and reed master Eric Dolphy (alto saxophone) rounding out the group.
“Refuge” is a Post Bop magnum opus in which Dolphy, Henderson, and Williams show off their transcendent virtuosity at warp speed. The tune is completely refreshing and original in terms of form, harmony, and structure. “New Monastery,” alluding to Hill’s role as a successor to Thelonious Monk, is beautifully interpreted by Kenny Dorham, who incidentally was a key player for Monk’s first recordings for Blue Note. “Spectrum” is a jaw-dropping study in contrasts. Hill’s solo ends with a complete group tacet, followed by Williams’s snare intro to an other-worldly, triad based groove, punctuated by Hill’s left hand and Dorham’s trumpet (complete with plunger mute). “Flight 19” is a controlled experiment in group improvisation, alternating an ostinato motif with unpredictable outbursts from the entire horn section. “Dedication” closes out the set, with Henderson’s oblique ballad saxophone tone sometimes clashing, sometimes melding with Hill’s subtle piano accompaniment.
The Rudy Van Gelder edition tacks on alternate takes of “New Monastery,” “Flight 19,” and “Dedication,” along with expanded liner notes.
In a sense, Hill bridged the gap between the warring factions of jazz of his time, bringing harmony to a discordant world. Point of Departure
is a fascinating look into Hill’s musical mind, and his sympathetic supporting cast make his music come to life.
This post was contributed by Denver-based musician and blogger Justin Scoville. He maintains his own website www.thejazzdaddy.com, He also contributes actively to jazz blogs throughout the Denver area.
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Justin, what is the difference in Andrew Hill and Kenny Drew’s style of approach harmonically? love this album’s sound, dolphy, williams and Henderson are game changers for me.
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Hello Justin I thought I would magnify my point about Kenny Drew piano style coming out of the school of Bud Powell example Dexter Gordon’s Coppin’ De Haven with Kenny Drew on Piano.; https://www.youtube.com/watch?v=G6yN5iDMxCw
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That is a great question, I had to meditate on that one for a while. Both definitely have a funky touch, but in different ways. I see Kenny as more in the Wynton Kelly mold, insofar as his left hand voicings and solo style are strongly influenced by the blues. His eighth note feel is heavily triplet-based, just like Wynton. Kenny is definitely underrated. His playing on Blue Train is spectacular, and Crosscurrent is another hidden gem of his.
To my ears, Andrew is more a combination of Herbie Hancock and Thelonious Monk. Herbie because his right hand runs sound somewhat similar to me, especially since they both were interested in rhythmic displacement. Monk because he and Hill both used odd intervals in their comping (fourths, flat ninths, flat fifths and thirteenths) and prodded soloists with unpredictable syncopation.
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Oops, meant Undercurrent for the Kenny Drew record.
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https://www.youtube.com/watch?v=sF1083-hJag- title track Undercurrent.. Love this cut, I’ve had this CD since 2007.. Mobley and Hubbard are stellar. I love your interpretation of the two pianists. I agree with the Herbie Hancock/Monk comparison for Andrew Hill. Drew has a more Bop- lineage from a Bud Powell school of piano style using a lot of augmented chords for coloring behind the soloists…similar to Horace Parlan, Barry Harris , Tommy Flanagan.
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Undercurrent shows off Kenny’s writing chops as well, and Freddie and Hank just eat up his charts. Beautiful stuff.
I hadn’t thought of the Bud Powell influence for Kenny but that is definitely a great point. Brings up another pianist who had a similar approach: my man Sonny Clark.
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I have about 6 Sonny Clark CDs Blue Note & Savoy??
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Digging this track today: http://www.youtube.com/watch?v=ZOBQPSsYzW8…
Also sent you some stuff on Grant Green.
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