Andrew Hill ~ Passing Ships

[Jazzrook]

Andrew Hill's BLUE NOTE nonet album 'Passing Ships', recorded in 1969, is one of his most accessible but, inexplicably, had to wait until 2003 before being issued.
One of my favourite tracks is the funky 'Plantation Bag' and, had it been released at the time, could have been as well known as Lee Morgan's 'The Sidewinder'.

Here it is: www.youtube.com/watch?v=t2kwCxyJWgE

[Ian Thumwood]

This is absolutely brilliant. It doesn't sound too different from his later big and recording "Beautiful day" albeit a lot tighter and less sprawling. I love Hill's music but I don't think he recorded as often as he should with a big band. The band was due to tour the UK in the early 2000's but it was cancelled. One of my biggest disappointments as Hill is a major hero of mine.

[Jazzrook]

Two more overlooked Andrew Hill albums from the mid-1970s, originally released on the obscure Japanese EAST WIND label:

https://www.allaboutjazz.com/andrew-hill-blue-black-and-nefertiti-by-kevin-ray.php

https://www.youtube.com/watch?v=YulJGDlvKwM

https://www.youtube.com/watch?v=tpjo9q9BVaI

[BLUESNIK'S REVOX]

Two more overlooked Andrew Hill albums from the mid-1970s, originally released on the obscure Japanese EAST WIND label:

https://www.allaboutjazz.com/andrew-hill-blue-black-and-nefertiti-by-kevin-ray.php

www.youtube.com/watch?v=YulJGDlvKwM

Andrew Hill played the UK/Bath Fest with a big band in 2003....I have the R3 90s well hidden from radiation.

"Andrew Hill Big Band, recorded May 24, 2003 at
the Bath Pavillion as part of the 2003 Bath
International Music Festival

Line-up:
Tony Kofi, Jason Yarde - alto saxophones
Denys Baptiste, Greg Tardy - tenor saxophones
Phil Todd - baritone saxophone
Ron Horton, Noel Langley, Chris Storr, Byron
Wallen - trumpets
Roland Bates, Pat Hartley, Fayyaz Virji -
trombones
Andy Grappy - tuba
Andrew Hill - piano
John Hebert - bass
Nasheet Waits - drums

Set list:
Not Sa No Sa
Smooth
Bellezza Apposita
Divine Revelation
New Pinocchio
Flying In The Sky"

BN.

[Serial_Apologist]

"Grass Roots", recorded in 1968 with Lee Morgan, Booker Ervin, Ron Carter, with Freddie Waits on drums, was announced at the time as being less out than Hill's earlier output, and we heard "Venture Inward" on one of the programmes of the time:

https://www.youtube.com/watch?v=VzdB_JMOnFo

I'm feeling rather chuffed with myself right now, yesterday having documented all tracks tranferred onto cassette in the early 1990s when my father's reel-to-reel finally gave up the ghost after 35 years of faithful service - this being my first-ever Andrew Hill and one of them.

Among other things I skipped, to give a flavour, that programme also featured a movement from Duke Ellington's "Sweet Thursday" suite, "Volcano" from the Kenny Clarke/Francy Boland Big Band, and all 14 minutes of Miles Davis's "Toute de Suite" from "Filles de Kilimanjaro" - which I could not stop playing and re-playing in sheer fascination.

[Ian Thumwood]

The Andrew Hill big band was supposed to visit Basingstoke but the gig was cancelled at the last moment. Probably one of my biggest regrets is that I never got to see Andrew Hill play. Most of the material comes form the album "Beautiful Day" which was lauded by the critics yet not as good as the previous small group album "Dusk." Odd how similar the "Passing ships" records sounds to the later Big band offering.

Thinking about SA's tape collection, it is intriguing how this captured the mainstream and more exotic elements of jazz. Andrew Hill seems to me to be really connected to Ellington's approach. I see so much similarity in their music, both from the point of view of writing and from piano playing. The two of them seem totally divorced from the then current mainstream (compare with the big band bop of KC / FB Big Band) yet latched on to a quality that defines jazz in a timeless manner. The whole style of thinking almost seems to be totally devoid of Western Classical inspiration even though Hill studied with Hindemith. The way that they both played the piano and how it dovetails in to the orchestrations represent something that strongly appeals to me. On the other hand, you have albums like Miles Davis "Filles de Kilimanjaro" which is one of his last truly great studio offerings which started the ball rolling in taking the music away from the Ellingtonian concept. The Davis album works because the music still retains an edge and a restless and agitated energy. It's weird that Davis' blend of jazz and rock seemed to take a life of its own to the extent that the rock influence is really hard to tell on this record these days whereas Hill's music seems totally timeless.

"Grass Roots" is a really good album. I love the Latin track "Mira" but the juxtaposition of Hill's angular piano with a funkier ensemble than usual isn't exactly easy listening or soul jazz. Hill was remarkably consistent although "Point of departure" is actually one of my least favourite records of his. "Black Fire" is essential.

[BLUESNIK'S REVOX]

The Andrew Hill big band was supposed to visit Basingstoke but the gig was cancelled at the last moment. Probably one of my biggest regrets is that I never got to see Andrew Hill play. Most of the material comes form the album "Beautiful Day" which was lauded by the critics yet not as good as the previous small group album "Dusk." Odd how similar the "Passing ships" records sounds to the later Big band offering.

Thinking about SA's tape collection, it is intriguing how this captured the mainstream and more exotic elements of jazz. Andrew Hill seems to me to be really connected to Ellington's approach. I see so much similarity in their music, both from the point of view of writing and from piano playing. The two of them seem totally divorced from the then current mainstream (compare with the big band bop of KC / FB Big Band) yet latched on to a quality that defines jazz in a timeless manner. The whole style of thinking almost seems to be totally devoid of Western Classical inspiration even though Hill studied with Hindemith. The way that they both played the piano and how it dovetails in to the orchestrations represent something that strongly appeals to me. On the other hand, you have albums like Miles Davis "Filles de Kilimanjaro" which is one of his last truly great studio offerings which started the ball rolling in taking the music away from the Ellingtonian concept. The Davis album works because the music still retains an edge and a restless and agitated energy. It's weird that Davis' blend of jazz and rock seemed to take a life of its own to the extent that the rock influence is really hard to tell on this record these days whereas Hill's music seems totally timeless.

"Grass Roots" is a really good album. I love the Latin track "Mira" but the juxtaposition of Hill's angular piano with a funkier ensemble than usual isn't exactly easy listening or soul jazz. Hill was remarkably consistent although "Point of departure" is actually one of my least favourite records of his. "Black Fire" is essential.

"Compulsion" with Gilmore and Hubbard is a great record although it took me quite a while to realise it. Very African with associated percussion. He certainly stretched the form on Blue note.

Also what became on final release "Change" with Sam Rivers as the only horn. Reminds me of Elmo at times.

BN.

[Jazzrook]

The Andrew Hill big band was supposed to visit Basingstoke but the gig was cancelled at the last moment. Probably one of my biggest regrets is that I never got to see Andrew Hill play. Most of the material comes form the album "Beautiful Day" which was lauded by the critics yet not as good as the previous small group album "Dusk." Odd how similar the "Passing ships" records sounds to the later Big band offering.

Thinking about SA's tape collection, it is intriguing how this captured the mainstream and more exotic elements of jazz. Andrew Hill seems to me to be really connected to Ellington's approach. I see so much similarity in their music, both from the point of view of writing and from piano playing. The two of them seem totally divorced from the then current mainstream (compare with the big band bop of KC / FB Big Band) yet latched on to a quality that defines jazz in a timeless manner. The whole style of thinking almost seems to be totally devoid of Western Classical inspiration even though Hill studied with Hindemith. The way that they both played the piano and how it dovetails in to the orchestrations represent something that strongly appeals to me. On the other hand, you have albums like Miles Davis "Filles de Kilimanjaro" which is one of his last truly great studio offerings which started the ball rolling in taking the music away from the Ellingtonian concept. The Davis album works because the music still retains an edge and a restless and agitated energy. It's weird that Davis' blend of jazz and rock seemed to take a life of its own to the extent that the rock influence is really hard to tell on this record these days whereas Hill's music seems totally timeless.

"Grass Roots" is a really good album. I love the Latin track "Mira" but the juxtaposition of Hill's angular piano with a funkier ensemble than usual isn't exactly easy listening or soul jazz. Hill was remarkably consistent although "Point of departure" is actually one of my least favourite records of his. "Black Fire" is essential.

Ian ~ I agree with you about 'Black Fire'. I was bowled over on first hearing this powerful and passionate album in the mid-60s and it still sounds fresh and exciting over 50 years later.

Jazzrook