The music written and played by Andrew Hill boasts a certain urgency which seems to be as demanding on the listener as it obviously was on the men in the studio when it was played. Certainly I find it hard to put aside this ‘point of departure’, justifying my action in the parallel of people I know who cannot leave the ringing telephone unanswered. Many of the arrangements have that glorious confused unity which typifies the writings of Monk, whilst the front line has an approach verging on the solidity of an Ellington small group.
Eric Dolphy is at his magnificent best in some of these pieces, notably Spectrum, which offers freedom almost unlimited to the soloist, yet preserves the trigger-like precision which is now a stamp of Hill’s work. Were I closer to the scene, and therefore aware of the individual musicians’ attitudes towards this session, I would find it easier to assess the composer/player relationship, which I would imagine was very close. Certainly the ensemble passage which follows the main solos is a fascinating excursion in the atonal scale.
There is a degree of pomposity about the opening of Flight 10 which dissolves as the pace is set, fast and brittle, but with good solos all round. Dedication is sombre, something to do with a death march, tired musicians, the end of the session. I think they could have cut it, but it’s there on the record. The opener, Refuge, has some of the best piano work by Hill, lyrical in concept, yet brim-full of incisive beat. This album must be heard, and will, I feel sure, find a place on many readers’ shelves.
Discography
Refuge; New Monastery (19¼ min) – Spectrum; Flight 19; Dedication (20¾ min)
Kenny Dorham (tpt): Eric Dolphy (alt/flt/bs-clt); Joe Henderson (ten); Andrew Hill (p); Richard Davis (bs); Anthony Williams (d).
(Blue Note BLP 4167 12inLP 43s. 3d.)
