Judgment! is a the fourth studio album by jazz pianist Andrew Hill, recorded and released in 1964 on Blue Note Records. Composed of a rhythm section and vibraphone - played by Bobby Hutcherson - Hill weaves his music around a complex harmonic structure.
Augmenting his rhythm section of bassist Richard Davis and drummer Elvin Jones with vibraphonist Bobby Hutcherson, pianist Andrew Hill records an excellent set of subdued but adventurous post-bop with Judgment. Without any horns, the mood of the session is calmer than Black Fire, but Hill's compositions take more risks than before. ~ AllMusic
Andrew Hill has been, in the gentlest of cases, an idiosyncratic player, composer, and bandleader. But often, reviews of his work have been quite strident and refer to him as an iconoclast. That's okay; some critics thought of Monk and Herbie Nichols that way, too. Time Lines has Hill back – for the third time in his long career – with Blue Note, the label that gave birth to his enduring classics like Black Fire and Judgment!. But Hill is still every bit the creative and technically gifted musician he was back in the day; perhaps more so. His band features seasoned veteran Charles Tolliver on trumpet, saxophonist Greg Tardy (who also triples on clarinet and bass clarinet, and beautifully, to say the least), and a rhythm section composed of bassist John Herbert and drummer Eric McPherson.
This is a recommended set of stimulating post-bop jazz. Andrew Hill's highly distinctive piano playing and unusual compositions hint at the past while following their own rules. The feeling of polyrhythms is present in several of Hill's seven compositions on this CD. The tightness of the bass-drum team (Lonnie Plaxico and Cecil Brooks) is quite impressive, as is the blend of Robin Eubanks' warm trombone and Greg Osby's alto.
Of the many jazz pianists who came of age in the 1960s, the brilliant Andrew Hill was not only one of the best, but among the most underrated. Perhaps this is due to Hill's subtle, minimalist, Thelonious Monk-derived style, which was alternately too conservative to attract attention from the out movement, yet too unusual for the average straight-ahead jazz fan. CHANGE is a session from 1966, previously available only as part of a long-out-of-print Sam Rivers Blue Note set issued in the '70s.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A real stroke of genius from pianist Andrew Hill – and a surprising one too! After an initial legacy of groundbreaking experimental sides for Blue Note, Hill returns to his "grass roots" on this excellent session of straight ahead, fairly funky, soul jazz piano tunes! In the notes, Hill claims a desire to get back to the people – and in a really unusual turn, he shakes off his previous modernist trappings and goes for territory that's much more in the mode of Lee Morgan, Horace Silver, or Hank Mobley on Blue Note!
Features SHM-CD format and the latest 24bit 192kHz remastering. One of the most dynamic albums that Andrew Hill ever cut for Blue Note – a record of long tracks, played by a largeish group who seem perfectly suited to Hill's most creative musical ideas! There's an approach here that almost predates some of the more righteous soul jazz ensemble sides of the 70s – as Hill's piano leads a octet that features Freddie Hubbard on trumpet, John Gilmore on tenor and bass clarinet, Cecil McBee and Richard Davis on basses, Joe Chambers on drums, and Nedi Quamar and Renaud Simmons on percussion. The percussionists roll out with quite a bit of presence in the set – not so much as on some of the Art Blakey percussion sides for Blue Note, but more with a pronounced sense of "bottom" that you might not always hear from Hill – an earthy, sometimes organic way of riffing that then allows freer solo work from the horns and piano on the top!
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A rare and beautiful Andrew Hill session, and one of the classic Blue Note entries into the "jazz and voices" sound that the label pioneered with Donald Byrd and Eddie Gale. Hill leads a core jazz group that includes Woody Shaw on trumpet, Carlos Garnett on tenor, Richard Davis on bass, and Freddie Waits on drums – and the group is backed by a vocal ensemble with a very spiritual vibe – a chorus who soar out soulfully, and really augment the jazz instrumentation of the album!
Quite possibly our favorite album ever from pianist Andrew Hill – a really unique outing that features the vibes of Bobby Hutcherson and a rare non-Sun Ra appearance by tenorist John Gilmore! The presence of Hutcherson brings a real "new thing" energy to the album – a feel that's similar to Bobby's classic Dialogue album, of which Hill was such an important part. But the searching tenor of Gilmore also brings a striking new level to the session as well – and his solos open up with a raw, earthy quality that really shades in the album with a great deal of feeling. Gilmore's role here is a bit like that of Joe Henderson on his freer Blue Note material – but his sound still undeniably unique, at a level that really makes us wish he'd recorded more albums like this at the time. The tracks are all originals by Hill, and include the titles "Duplicity", "Black Monday", "The Griots", and "Le Serpent Qui Danse". CD features 2 bonus alternate takes too!