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Andrew Hill died today


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does his 1st lp "so in love..." is that album show hints of his later style, etc or is it very very different, improvisation wise and also regarding the heads---

whats other lps was he on in the 50s? did he have another solo lp- in fact what is his pre blue note discog.?

also what has a.h. said about his exp. w/ charles the bird parker: he was never recorded w/ him, but what has he said about that important early phase of his career

1) There are hints of the later style. Malachi Favors is on bass btw.

2) There's a really good Hill discography here: http://www.jazzdiscography.com/Artists/Hill/hill-disc.htm Mike Fitgerald doesn't come around here any more, but the name "Ronald Lyles belongs to O-member "relyles" who posts here fairly regularly. The discography is a labor of love, and well worth checking out.

3) I don't know that he's said too much more about Bird than the ususal "what an experience it was!" type stuff.

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2) There's a really good Hill discography here: http://www.jazzdiscography.com/Artists/Hill/hill-disc.htm Mike Fitgerald doesn't come around here any more, but the name "Ronald Lyles belongs to O-member "relyles" who posts here fairly regularly. The discography is a labor of love, and well worth checking out.

Thank you Jim. The discography is also in need of some small updates, which I hope the kids allow me some time to work on in the near future.

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I'm sad to hear this of course, but the news makes me happy that late in life he was able to enjoy the recognition that his life's work deserved.

P.S. When Charles Brown died, Mosaic received a rush of orders for his set and sold out of them. Perhaps those of you who are fans of Andrew Hill should consider immediately ordering his Mosaic Select.

Will do!

Actually, don't forget there are TWO Selects!

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I'm sad to hear this of course, but the news makes me happy that late in life he was able to enjoy the recognition that his life's work deserved.

P.S. When Charles Brown died, Mosaic received a rush of orders for his set and sold out of them. Perhaps those of you who are fans of Andrew Hill should consider immediately ordering his Mosaic Select.

Will do!

Actually, don't forget there are TWO Selects!

Yes, and the Night Lights program is a worthy intro to the first one. (Unfortunately, it convinced me that that music is a bit out of my range as far as comprehension and listening enjoyment).

The second set, the solo piano set; that one I'm saving up my pennies for. Hill solo piano? I am SO there!!!

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I keep listening to Smokestack over the years. I know this isn't popular opinion, at least around here, but this album does something for me that the others don't. He swings like hell, but in a very idiosyncratic way and the music on the whole is really settled in a way that his other albums from this era are not. They seem to have a jittery nervousness, where this album has a more subdued anxiety that would be more a part of a person's personality than a psycological response.

What the hell. That doesn't make any sense... either way, his piano playing is so calm in its anxiousness, swinging and swaying, bobbing and bouncing in and out, hanging on for an extra dot here, attacking the beat there, so fluid and so right on.

I feel like this is an underrated date, or an overshadowed date perhaps.

Compositions (off of memory, I hope they're right):

Smokestack

The Day After

Wailing Wall

Ode to Von

Not So

Verne

30 Pier Avenue

and alternates

Some new meaning in a couple of those titles for me this week.

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Cary,

Yes, Smokestack is my favorite of the Hill Blue Notes (oddly Point of Departure is the one I don't quite "get" and hardly ever play.

It's so. . .well. . . I can't describe Smokestack correctly either but it's "grounded" in a way that I find really appealing. And the piano work is just so different and beguiling.

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I'm not picking on anyone, but I've always had a hard time understanding the ambivilance that people have expressed towards Hill, or at least the majority of his work. He is one of the top-tier greats in my book, and always has been. All of his records (especially the 60s dates) work for me - some work and some WORK, but there are no duds in my book. I guess part of it might be that he works in a lot of unusual time signatures, which is something that has never bothered me at all in any type of music. I actually learned to play guitar without the benefit of formal instruction or a metronome as a teen and was thrown for a loop when I first played with a drummer and he looked at me like I was insane... but I digress. Hill was a great musician and tremendous composer who lived a fairly long life and went out with his creative abilities intact. I can see why some people see this as sad, but in a way it is also beautiful (the cancer part does suck, though). In any event, I'll always be grateful for his music.

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I'm sad to hear this of course, but the news makes me happy that late in life he was able to enjoy the recognition that his life's work deserved.

P.S. When Charles Brown died, Mosaic received a rush of orders for his set and sold out of them. Perhaps those of you who are fans of Andrew Hill should consider immediately ordering his Mosaic Select.

Will do!

Actually, don't forget there are TWO Selects!

I know, but I had the one Artists House solo piano LP included in the solo select, and it didn't thrill me that much. But I absolutely love his ensemble writing!

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I keep listening to Smokestack over the years. I know this isn't popular opinion, at least around here, but this album does something for me that the others don't. He swings like hell, but in a very idiosyncratic way and the music on the whole is really settled in a way that his other albums from this era are not. They seem to have a jittery nervousness, where this album has a more subdued anxiety that would be more a part of a person's personality than a psycological response.

What the hell. That doesn't make any sense... either way, his piano playing is so calm in its anxiousness, swinging and swaying, bobbing and bouncing in and out, hanging on for an extra dot here, attacking the beat there, so fluid and so right on.

That's probably the best thing I've ever read about this album, and I think you nailed it as far as its overall mood.

Heck, you may have just described Hill's entire musical journey, for that matter! :tup

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I know it doesn't get a lot of 'this is my fav hill record'...but I really dig Grass Roots. Maybe it's a little more accessable, but hill was a pretty funky cat when he threw his energy in that direction. I guess since he wrote The Rumproller, I should be surprised. Another favorite session he was on was Hutcherson's "Dialogue." Andrew swings his ass off on that.

Tom Brokaw has his "Greatest Generation" theory with the WWII era. I'd have to say that the generation of jazz musicians that spanned the 60's, is just very hard to say goodbye too. What a special time it was and what special individuals it produced such as Hill.

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