an analysis of selected improvisations by andrew hill …

AN ANALYSIS OF SELECTED IMPROVISATIONS BY ANDREW HILL AND THE DEVELOPMENT OF PROGRESSIVE JAZZ PIANO, 1959-2005

BY

CHRISTOPHER ERIC REYMAN

DISSERTATION

Submitted in partial fulfillment of the requirementsfor the degree of Doctor of Musical Arts in Music

with a concentration in Jazz Performance in the Graduate College of the

University of Illinois at Urbana-Champaign, 2011

Urbana, Illinois

! Doctoral Committee: ! ! Assistant Professor John Stephens, Chair! ! Associate Professor Gabriel Solis! ! Associate Professor Erik Lund! ! Assistant Professor Teofilo Carrillo

ABSTRACT

! Pianist and composer Andrew Hill (1931-2007) made significant contributions to the jazz

idiom during the nearly fifty years he recorded, however his compositions and improvisational

style have yet to be explored in great depth. His unique style, filled with rhythmic irregularities,

harmonic dissonance and abrupt shifts in mood, developed out of the conventions of hard bop.

By the time Hill led his second recording session in 1963 (his first for Blue Note), his playing

had developed more fully with the incorporation of a freer approach to melody, harmony and

rhythm. His compositions often maintain form and make use of traditional chord symbols, but

harmonic and rhythmic “looseness” adds a degree of complexity and discontinuity, which may in

part account for Hill’s relative obscurity. In 2000, he began receiving numerous awards for his

playing and composing from Down Beat, Jazz Journalist and other publications. The main

purpose of this study is the presentation of seven previously unpublished transcriptions of Hill’s

improvised solos spanning 1959 to 2005. In addition, this paper will provide a biography of

Andrew Hill’s early life and recording career and will present several previously unpublished

compositions by Hill. For this study, I conducted interview with several of his former

collaborators: trumpeters Ron Horton and Charles Tolliver, multi-reedist Greg Tardy and bassist

Scott Colley. This contribution, I hope, will help to increase Hill’s prominence as a significant

jazz figure and shed some light on this underrepresented artist.

ii

TABLE OF CONTENTS

CHAPTER 1: Introduction..................................................................................................1! Purpose of Study......................................................................................................3! About the Transcriptions..........................................................................................5! Biography.................................................................................................................7! Introduction to Andrew Hill’s Improvisational Style ............................................20

CHAPTER 2: Melody and Harmony in the Improvised Solos of Andrew Hill.................30! Approach Tones and Neighbor Tones.....................................................................30! Enclosures (Surrounding Tones).............................................................................32! Linear Chromaticism...............................................................................................34! Blues Sensibility......................................................................................................37! Expanded Melodic and Harmonic Concepts: Planing, Tone Clusters, ! ! Expanded Bebop, Motivic Loops and Superimposition..............................41

CHAPTER 3: Rhythm and Pulse in the Improvised Solos of Andrew Hill.......................52! Pulse, Swing and Laying Back...............................................................................52! Syncopation............................................................................................................53! Hemiola..................................................................................................................56! Expanded Rhythmic Concepts: Polyrhythm, Rubato! ! and Rhythmic Obscurity..............................................................................57

CHAPTER 4: Macro-level Construction in the Improvised Solos of Andrew Hill............74! Motivic Chain-Association......................................................................................74! Repetition of Turnarounds and Cadences................................................................81

!Conclusions.........................................................................................................................87

References...........................................................................................................................90

APPENDIX A: Transcribed Solos.....................................................................................95! “Penthouse Party” from So in Love (1959)............................................................95! “Ode to Von” from Smoke Stack (1963)...............................................................101! “Yellow Violet” from Dance with Death (1968)..................................................109! “Here’s that Rainy Day” from Divine Revelation (1975).....................................113! “Georgia Ham” from But Not Farewell (1990)....................................................119! “I’ll Be Seeing You” from Les Trinitaires (1998)................................................128! “Malachi” from Time Lines (2005) .....................................................................136!

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APPENDIX B: Lead Sheets of Compositions................................................................142! “Penthouse Party”...............................................................................................142! “Ode to Von”.......................................................................................................144! “Yellow Violet”...................................................................................................146! “Georgia Ham”....................................................................................................147! “Malachi”............................................................................................................148

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CHAPTER ONEIntroduction

! Pianist and composer Andrew Hill (1931-2007) maintained a consistent recording career

between 1954 and 2005, recording over thirty albums as a leader with many significant jazz

musicians. Though the depth and quality of his music is undeniable, he has more or less been left

out of the mainstream jazz narrative. Hill’s music is highly improvised, often maintaining high

levels of harmonic and rhythmic freedom, reminiscent of free jazz, but within a standard jazz

format and conventional compositional forms. He has been described as a “link between the

rigors of bebop and the discursiveness of free jazz” 1 and it is precisely this synthesis of

seemingly divergent styles that has caused Hill to become marginalized within both realms. Hill

followed an individual path as a band-leader and composer. His first significant recordings were

made for Blue Note between 1963 and 1970.2 On these recordings, Hill displays characteristics

that would define his style for the remainder of his career, most notably, a relationship to hard

bop through the use of laid-back swing rhythms, blues inflection, bebop improvisation and the

presentation of new compositions within typical jazz forms. Hill also shows a tendency toward

the loosening of these parameters through the employment of collective improvisation and a high

degree of harmonic and rhythmic freedom.

! During the late-fifties and sixties, pianists that were contemporaries of Hill, such as

Herbie Hancock, Bill Evans and McCoy Tyner gained wide recognition by performing

extensively as sidemen with artists such as Miles Davis and John Coltrane . While these pianists

occasionally experimented with electric keyboards and fusions between jazz and rock, Hill

1

1 Schudel, Matt. (2007, Aprill 22). “Andrew Hill: Jazz Composer Stretched Boundaries.” Washington Post. Accessed March 27, 2011. http://www.washingtonpost.com/wp-dyn/content/article/2007/04/21/AR2007042101064.html.

2 Lyles, Ronald. “Andrew Hill Discography.” Last modified August 8, 2009. http://www.jazzdiscography.com/Artists/Hill/hill-disc.htm.

continued recording acoustic, yet highly progressive jazz. Like pianists such as Cecil Taylor, Hill

experimented with the discursive elements of free jazz, though Hill’s music most often maintains

a compositional structure. During performances, Hill’s ensembles incorporate an interactive,

collective approach, similar to the “interactive trio” format of the Bill Evans trios. However, in

Hill’s music, the harmonic and rhythmic parameters are much looser.

! Throughout Hill’s career, his improvisational style moved beyond the typically

homophonic texture common to bebop, most likely due to the development of his solo piano

work. He incorporates elements of what could be considered a classical piano technique through

the use of rubato, softer articulations, sustain pedal, impressionistic (modal) harmonies and

dynamic contrast. Hill also uses the entire range of the piano melodically and creates polyphony

between his hands. The evolution away from homophony toward a more homogeneous piano

technique within ensemble settings required more balanced recordings, in which Hill wanted

“...instruments accompanying each other, [with] equal volume on all, so they can stand on their

own.” 3 The egalitarian recording quality sought by Hill aided in the effectiveness of collective

improvisation. Within this context, rather than merely delineating time, rhythm sections often

rely on a method defined by Ekkehard Jost in Free Jazz: The Roots of Jazz as “energy-rhythm” -

“...a flowing rhythm achieved by tiny deviations from the beat and by superimposition of even

and uneven rhythms...”.4

! Developing out of the synthesis between hard bop and free jazz, Hill maintained a

progressive aesthetic and continuously developed new material throughout his career, rarely

recording the same composition twice. As collaborator Ron Horton pointed out, Hill rarely kept

2

3Adler, David. (2006, April). “Once More: Jazz with Feeling.” Jazz Times. http://jazztimes.com/articles/16692-andrew-hill-once-more-jazz-with-feeling. 52.

4 Jost, Ekkehard. (1974). Free Jazz: The Roots of Jazz. New York: Da Capo Press. 69-71.

lead sheets, as “[He] was more interested in writing new music than just playing his old music,

so he didn’t have much attachment to those old songs.” 5

! After over thirty years of recording, Hill finally began receiving wider critical acclaim.

He was awarded a Jazz Foundation of America “Lifetime Achievement Award” in 1997,

Downbeat awards in 2000 and 2001,6 the Danish “Jazzpar” prize in 2003 and was named “Jazz

Composer of the Year” five times by the Jazz Journalist Association.7 His albums Dusk (1999)8

and Time Lines (2005) were both named “Best Jazz Album” by Down Beat magazine.9 Hill

received several awards posthumously, including Jazz Journalist’s “Composer of the Year” and

“Pianist of the Year.” He was also inducted into Down Beat’s “Hall of Fame” and received a

National Endowment for the Arts “Jazz Master Award.” 10 A collection of twenty-one Andrew

Hill compositions transcribed by Jason Moran, Frank Kimbough and Ron Horton, recently

published by Boosey and Hawkes, is the first publication of his compositions to date.

Purpose of Study

! The purpose of this project is to study Andrew Hill’s improvisations by discussing his

style as a synthesis of the two dominant jazz styles of the sixties, hard bop and free jazz. In

addition, I will discuss an evolution of progressive jazz piano technique from a homophonic

3

5 Horton, Ron. (2010, August 17). Email correspondence.

6 “Andrew Hill Official Website.” Accessed March 27, 2011. http://www.andrewhilljazz.com.

7 Andrew Hill: 21 Piano Compositions. (2010). New York: Boosey and Hawkes. 45.

8 Dates given for albums will be the date of recording. The release date will be indicated if it differs dramatically. For a comprehensive discography, refer to Lyles, Ronald. “Andrew Hill Discography.” Last modified August 8, 2009. http://www.jazzdiscography.com/Artists/Hill/hill-disc.htm.



texture, common to bebop and hard bop pianists, toward a more homogenous and polyphonic

texture with a high degree of harmonic and rhythmic obscurity. In Chapter One, I will first

present a brief biography in which I will outline his performing and recording career and discuss

his associations with many influential jazz musicians. I will then point to significant recordings

and discuss stylistic developments throughout his recorded career as a leader, spanning 1959 to

2005. Next, I will discuss general stylistic traits by noting comparisons to other pianists made in

articles and interviews that shed light on his influences. Finally, I will discuss ensemble methods

that had a significant impact on the realization of his compositions, in particular,

experimentation, a focus on ensemble synergy, collective improvisation and a loose

interpretation of harmony and pulse. In Chapters 2 and 3, I will discuss seven transcriptions of

improvisations spanning Hill’s recorded career as a band-leader, detailing particular aspects of

his style. Chapter 2 will focus on melody and harmony, beginning with his use of various types

bebop chromaticism and blues inflections. I will then show Hill’s progressive tendencies by

detailing his use of diatonic and chromatic planing, his use of tone clusters, an expansion of

linear bebop improvisation, the use of motivic loops and superimposed structures. Chapter 3

deals with rhythm and pulse in Hill’s improvisations, particularly the use of syncopation,

hemiola, rubato and other methods of obscuring the pulse. Additionally, Chapter 3 will explore

two solo piano improvisations of the standards “Here’s That Rainy Day” and “I’ll Be Seeing

You.” In Chapter 4, I will discuss the macro-level construction of Hill’s improvising, such as

what Jost calls “motivic chain-association” - improvisation exemplified by Ornette Coleman that

resembles “stream of consciousness.” 11 Finally, I will discuss Hill’s repetition and variation of

harmonic and rhythmic patterns. For the purpose of this study, I have divided Hill’s recorded

4


output into four distinct periods, shown in Figure 1.1 with an indication of the transcriptions that

will be presented.

Figure 1.1: Seven albums chosen from Andrew Hill’s four recording periods

Period Albums chosen for this project

1954-1963 So in Love (1959, Fresh Sounds)

1963-1970 Smoke Stack (1963, Blue Note)Dance with Death (1968, Blue Note)

1974-1990 Divine Revelation (1975, Steeple Chase)But Not Farewell (1990, Blue Note)

1998-2005 Les Trinitaires (1998, Jazz Friends Productions)Time Lines (2005, Blue Note)

The first period precedes Hill’s work with a major record label and consists of only one album

that organized under Hill’s name. The second period was his most productive, resulting in twelve

Blue Note albums recorded within seven years. Between 1974 and 1986, the third period, Hill

recorded sporadically for smaller labels until Eternal Spirit (1989) and But Not Farewell (1990)

were recorded for Blue Note. During the last period, Hill recorded two albums for European

labels and a big band album before his final album, Time Lines, recorded in 2005 on the Blue

Note label.12

About the Transcriptions

! From the multitude of recordings made by Andrew Hill, I chose seven albums based on

varying criteria with the primary concern being the presentation of his career as a whole. From

his first album as a leader, So in Love, I selected the blues composition “Penthouse Party,” one

5


of two Hill originals that appear on this album. The next transcription subject was taken from

Hill’s second Blue Note session, Smoke Stack, which Bob Blumenthal thought consisted of more

“challenging” music, than his more highly recognized album, Point of Departure, recorded just

three months later.13 I then chose “Yellow Violet,” from another Blue Note album recorded in

1968, which was released as Dance with Death in 1980. Two solo piano improvisations of

standards, the first from the quartet album Divine Revelation, recorded in 1975, and the second, a

1998 solo performance at Les Trinitaires in France provide appropriate examples of Hill’s

methods within the context of standard harmonic progressions. In “Here’s That Rainy Day,” Hill

maintains the compositional form and a more or less steady pulse throughout, while “I’ll Be

Seeing You” is more harmonically and rhythmically expansive. I next chose a selection from his

1990 Blue Note recording, But Not Farewell, which is one of two Blue Note recordings made

after two-decades away from major record labels. The last selection, “Malachi,” comes from

Hill’s final album, Time Lines.

! The appendices found at the end of this paper contain complete transcriptions of the

selected improvisations and lead sheets of the compositions within which these solos occur. In

these transcriptions, I attempt to display Hill’s interpretation of phrasing and rhythm with

changes in tempo and meter, rather than adhering to a concrete form and meter. In the

transcription of “Malachi,” for example, meter changes occur so frequently, that I chose to leave

the time signatures out entirely. A similar method was used by Jason Moran for a partial

transcription of “Golden Sunset” from Eternal Spirit (1989) in Andrew Hill: Twenty-one Piano

Compositions.14 With this method, I hope to present a more “tidy” notation that displays what I

6

13 Bloomenthal, Bob. (2005). Liner notes to Smoke Stack [CD] reissue. Blue Note Records. 0946 3 3 7777 2 9. 3.

14 Andrew Hill: 21 Piano Compositions. (2010). New York: Boosey and Hawkes. 21-4.

believe to be Hill’s intended phrasing and rhythmic structure. In an effort to present new

material, I have avoided the duplication any compositions contained in the aforementioned text.

Biography

! Andrew Hill, born on June 30, 1931,15 grew up in Chicago and had what he described as

a “semi-autistic, eccentric youth.” 16 He attended Wendell Phillips High School and took classes

at the University of Chicago Laboratory School.17 Hill played accordion on the street, switching

to a “proper button accordion” when he was 7 years old. He played for tips near the Regal

Theater and the Savoy Ballroom, which he described as the “center of black Chicago night life”

in Ben Ratliff’s 2006 New York Times article “Andrew Hill: One Man’s Lifelong Search for

Rhythm in Melody.” 18 There is some discrepancy about his early musical development, which

may have been fabricated by Hill himself. In the liner notes to Dance with Death (1968), Nat

Hentoff stated that Hill was able to play stride piano and boogie woogie “extremely well” by age

six,19 while the concise biography that accompanies Andrew Hill: Twenty-one Piano

Compositions, states that Hill supposedly taught himself piano at age 10.20

7

15 Ibid. 45.

16 Adler, David. (2006, April). “Once More: Jazz with Feeling.” Jazz Times. http://jazztimes.com/articles/16692-andrew-hill-once-more-jazz-with-feeling.

17 Martin, Dick. (1959). Original liner notes to So in Love [CD]. Fresh Sounds Records. FSR-CD 322. 1-2.

18 Ratliff, Ben. (2006, February 24). “Andrew Hill: One Manʼs Lifelong Search for Melody in Rhythm.” New York TImes. http://www.nytimes.com/2006/02/24/arts/music/24hill.html?_r=1&ref=andrewhill.

19 Hentoff, Nat. (1980). Original liner notes to Dance with Death [CD]. Blue Note Records. 7243 4 73160 2 9. 3.


Chicago Years, 1950-1961

! Sometime in the early to mid-fifties, baritone saxophonist Pat Patricks taught Hill the

blues and a few years later Hill was playing his first professional jobs with Paul Williams’ blues

band.21 He received some guidance from Stan Kenton’s arranger Bill Russo during the fifties22

and also studied briefly with composer Paul Hindemith.23 The two met sporadically over a two

year period. Of the lessons with Hindemith, Hill said:

! I could do certain things naturally. One of his things was like G7 with F, G, A, and ! B together - cluster tones. I could hit things like that and understand them. But what we ! talked about was musical shapes and spaces more than harmony.24

In a later interview, he gave more detail into these meetings:

! I was writing music on a brown paper bag and Hindemith, who taught nearby, asked ! what I was writing. It was actually musically correct, but not written in the correct ! conventions, so he offered some advice. After that, he would come by now and then and ! look at what I was doing, teaching me about symmetrical and asymmetrical ways of ! writing music.25

! While still living in Chicago, he recorded a few tracks for Vee Jay, a label releasing

mostly gospel and R & B recordings. In 1956 he led a session with a group called the

“De’bonairs,” which included two Hill compositions, “Dot” and “Mal’s Blues.” 26 Performances

with Chicago musicians Malachi Favors, Von Freeman and Wilbur Ware are cited among Hill’s

8

21 Ibid.

22 Mandel, Howard. (1999). Original liner notes to Dusk [CD]. Palmetto. 1.


24 Adler, David. (2006, April). “Once More: Jazz with Feeling.” Jazz Times. http://jazztimes.com/articles/16692-andrew-hill-once-more-jazz-with-feeling. 59.

25 Johnson, Phil. “Andrew Hill: Blue Note Pianist and Composer.” The Independent. Accessed March 27, 2011. http://www.independent.co.uk/news/obituaries/andrew-hill-446099.html.


first professional jobs,27 as well as performances with Charlie Parker, Miles Davis, Coleman

Hawkins,28 Johnny Hartman, Al Hibbler, Johnny Griffin, Gene Ammons, Roy Eldridge, Ira

Sullivan and Eddie “Lockjaw” Davis.29 Hill described the performance with Charlie Parker as his

“greatest musical experience” and it was a brief remark made by Parker to “...look at melody as

rhythm...” that Hill tried to “...utilize, but not make pronounced...” throughout his career.30 As

Hill stated in a interview later in his career, he interpreted this comment to mean that one should

approach “melody as a rhythm, because melody is a rhythm itself.” 31 This concept displays the

importance placed on rhythm in jazz, as distinct from a Eurocentric focus on melody. Hill’s first

trio, comprised of drummer James Slaughter and bassist Malachi Favors, was formed after Hill

suffered what he described as a nervous break down due to the “pressures of the business.” 32

This group recorded So in Love in 1959.!

! Between 1961 and 1963, Hill recorded with Johnny Hartman, Rashaan Roland Kirk,

Phillip Guilbeau and Walt Dickerson.33 During this time, he also worked with Ben Webster,

Lester Young and Lou Donaldson.34 George Lewis cites several instances of Hill’s exposure to

Chicago experimental music in the early sixties, including Woodrow Wilson Junior College

9

27 Spellman, A.B. (1964). Original liner notes to Black Fire [CD]. Blue Note. 7243 5 96501 2 8. 1.

28 Martin, Dick. (1959). Original liner notes to So in Love [CD]. Fresh Sounds Records. FSR-CD 322. 2.


30 Hill, Andrew. Solos: The Jazz Sessions, Andrew Hill [DVD]. Toronto: MVD Visual. MVD 4963D.

31 Ibid.

32 Martin, Dick. (1959). Liner notes to So in Love [CD]. Fresh Sounds Records. FSR-CD 322. 2.


34 Martin, Dick. (1959). Liner notes to So in Love [CD]. Fresh Sounds Records. FSR-CD 322. 2.

ensemble rehearsals with members of the A.A.C.M. (Association for the Advancement of

Creative Musicians), such as Malachi Favors, Anthony Braxton, Henry Threadgill and Jack

DeJohnette.35 Hill was also present at concerts and jam sessions with A.A.C.M. members during

the mid-sixties.36 It was around that time that Hill fabricated information about his place of birth

and the year he was born, rumors that persisted over the next several decades. Several liner notes

erroneously state that Hill was born in Port au Prince, Haiti in 1937.

! It seemed like a good career move at the time. I was spelling my name with an E on the ! end for a while [Hille]. I met Andrew Cyrille, and he told me that was a Haitian name. ! Boom, I was Haitian. Growing up in the black belt, no matter how high I rose, I could ! only go so far because there was such a color caste system in Chicago. So being from ! Haiti was a good neutralizer. But then, of course, as soon as I got that going, black ! nationalism came in. Just my luck!37

He elaborated on this:

! I used to blame it on other people, but it was me, and A.B. Spellman helped me plot the ! crime. I was born in Chicago and had no interest in Haiti or patois, but that enabled me to ! get gigs on the college circuit, the Dave Brubeck thing, you know? People looked at jazz ! music as exotic and pretending you came from Haiti helped.38!

It was in 1961 that he got what he described as his “first big break” when he was given the

opportunity to tour with Dinah Washington.39 After touring, Hill settled in New York in 1962 and

married Laverne Gillete.40

10

35 Lewis, George E. (2007). A Power Stronger than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press. 67.

36 Ibid.128.

37 Cuscuna, Michael. (1995) Liner notes to The Complete Blue Note Andrew Hill Sessions 1963-66 [CD]. Blue Note Records. MD7-161 S27-18434.


39 Friis, Søren. (2003) Trans. Banks, Paul. Original liner notes to The Day the World Stood Still [CD]. The Scandinavian Music Company. STXCD 20412.

40 Andrew Hill: 21 Piano Compositions. (2010). New York: Boosey and Hawkes. ii.

First Blue Note Period, 1963-70

! In 1963, Andrew Hill first entered Rudy Van Gelder’s New Jersey studio to record as a

sideman on two Blue Note albums, Joe Henderson’s Our Thing and Hank Mobley’s No Room for

Squares.41 After Alfred Lion produced the aforementioned sessions, he offered Hill a contract

that enabled him to record twenty-five sessions with top notch New York jazz musicians between

1963 to 1970. Figure 1.2 shows the instrumentalists employed by Hill during his first Blue Note

period, virtually a “who’s-who” list of progressive jazz musicians during the sixties.

11


Figure 1.2: Sidemen employed by Andrew Hill 1963-197042

Instrument Sidemen (1963-1970)

Drums James Slaughter Idris MuhammadRoy Haynes Freddie WaitsElvin Jones Billy HigginsTony Williams Mickey RockerJoe Chambers Lennie WhiteJ.C. Moses Paul MotianTeddy Robinson Ben Riley

Bass Malachi Favors Ron CarterRichard Davis Herbert LewisEddie Khan Reggie WorkmanCecil McBee Victor SprolesWalter Booker

Saxophone Joe Henderson Booker ErvinEric Dolphy Joe FarrellJohn Gilmore Carlos GarnettSam Rivers Bennie MaupinRobin Kenyatta Pat PatrickFrank Mitchell

Trumpet Kenny Dorham Lee MorganFreddie Hubbard Charles TolliverWoody Shaw Dizzy Reese

Vibraphone Bobby Hutcherson

Trombone Julian Priester

Guitar Jimmy Ponder

His first three sessions for Blue Note, Black Fire, Smoke Stack and Judgement, preceded the

seminal Point of Departure sextet album, recorded in March of 1964.43 In his New York Times

article, Ben Ratliff described the five albums Hill recorded in his first eight months with Blue

12

42 Ibid.

43 Ibid.

Note as “visionary.” 44 Hill continued recording for Blue Note until 1970, though not all of these

sessions were released promptly. One for One, recorded in 1965, went unreleased until 1975.

Mosaic Select 16, released in 2005, is comprised of material from several sessions, including a

1967 recording with Sam Rivers, a trio recording with Ron Carter and Teddy Robinson and

larger ensemble sessions that took place in 1969 and 1970.45 Dance with Death and Passing

Ships, recorded in 1968 and 1969, were released in 1980 and 2005, respectively. During the late

sixties, Hill also explored larger configurations, augmenting the ensemble with percussion,

strings and voices. On a few of these sessions, Hill plays cello (Involution), organ and

harpsichord (Mosaic Select 16), though only within the context of collective improvisations.46

Middle Years, 1974-1986

! Hill’s moderate critical success did not translate into financial success, leading Hill in

1966 to “urge each of his listeners to send him a dollar.” 47 In 1970 Andrew Hill took a brief

break from recording and began a two-year appointment as Composer in Residence at Colgate

University in New York.48 He recorded less throughout the seventies “...in order to avoid

13

44 Ratliff, Ben. (2006, February 24). “Andrew Hill: One Manʼs Lifelong Search for Melody in Rhythm.” New York TImes. http://www.nytimes.com/2006/02/24/arts/music/24hill.html?_r=1&ref=andrewhill. 51.


46 Ibid.


48 Hentoff, Nat. (1980). Original liner notes to Dance with Death [CD]. Blue Note Records. 7243 4 73160 2 9. 3.

becoming a commodity as a musician,” 49 leading critic Matt Schudel to claim that Hill “retreated

into academia for two decades.” 50 In the liner notes to his 1974 album Invitation, Hill divulges:

! Even though I haven’t received the promotion the last few years that I received when I ! was with Blue Note, I’m happy to say I have been more active than I have !been since I ! first signed with them. In a sense I haven’t been away from the jazz scene, for I have been ! playing in rural America and the attendance and the audience response have been ! fantastic.51

Hill left Colgate University and moved to California to teach at various public schools and in

prisons.52 His work at the San Quentin prison was referred to as “musical therapy” by David

Rosenthal in the liner notes to Eternal Spirit.53 During the seventies, Hill obtained grants from

the Smithsonian Heritage Program and the California Arts Council, which enabled him to tour

and record.54 Figure 1.3 details Hill’s recording activity between 1974 and 1986.

14

49 Sheridan, Chris. (1976). Original liner notes to Divine Revelation [CD]. Steeple Chase. SCCD 31044.


51 Skovgaard, Ib. (1976). Liner notes to Invitation [LP]. Inner City. 2026.

52 Schudel, Matt. “Andrew Hill: Jazz Composer Stretched Boundaries.” Washington Post. washingtonpost.com.webarchive. His work in San Quentin and Soledad prisons was referred to as “musical therapy” by David H. Rosenthal in the liner notes to Eternal Spirit.

53 Rosenthal, David H. (1989). Liner notes to Eternal Spirit [CD]. (1989). Blue Note Records. CDP 7 92051 2.

54 Cuscuna, Michael. (1995). Liner notes to The Complete Blue Note Andrew Hill Sessions 1963-66 [CD]. Blue Note Records. MD7-161 S27-18434.

Figure 1.3: Andrew Hill’s second major recording period (1974-1986) 55

Year Album Personnel

1974 Invitation Chris White (bass), Art Lewis (drums)

1974 Spiral Lee Konitz, Ted Curson (trumpet), Cecil McBee (bass), Art Lewis, Robin Kenyatta (alto), Stafford James (bass), Barry Altschul (drums)

1975 Hommage solo piano

1975 Divine Revelation

Jimmy Vass (flute), Chris White, Leroy Williams (drums)

1975 Live at Montreux

solo piano

1976 Nefertiti Richard Davis (bass), Roger Blank (drums)

1980 Strange Serenade

Alan Silva (bass), Freddie Waits (drums)

1986 Shades Clifford Jordan (tenor), Rufus Reid (bass), Ben Riley (drums)

1986 Verona Rag solo piano

! Hill performed with Joe Henderson, Mal Waldron, Clifford Jordan and Lee Konitz in the

eighties. At this time, Hill began performing solo improvisations of standards, beginning in 1975

with his first solo recording, Hommage. His second solo album, Verona Rag, was recorded over a

decade later and his final solo recording is from a live performance made in 1998. His

interpretations of standards are similar to solo piano performances by pianists, such as Earl

15


Hines, in that performances were “concert-hall fantasias of tunes.” 56 Figure 1.4, below, outlines

the standard compositions performed by Hill throughout his career.

Figure 1.4: Standards recorded by Hill throughout entire career57

Standard tune Album Year

So In LoveBody and SoulOld Devil MoonSpring is HereThatʼs All

So In Love 1959

Somebody Loves MeStella by StarlightIn Your Own Sweet WayMisty

Sittinʼ at Jorgieʼs Jazz Club(Johnny Hartman - leader)

1961

How Deep is the Ocean?God Bless the Child

To My Queen (Walt Dickerson - leader) 1962

Invitation Invitation 1974

Sophisticated Lady Hommage 1975

Hereʼs That Rainy Day Divine Revelation 1975

Come Sunday Live at Montreux 1975

Where or When Verona Jazz 1986

Darn that Dream Verona Rag 1986

Shaw ʻNuff Dreams Come True (Chico Hamilton - leader) 1993

Whatʼs New?Iʼll Be Seeing You

Les Trinitaires 1998

Back Home Again in IndianaJitterbug Waltz

Invisible Hand (Greg Osby - leader) 1999

16


57 Ibid.

Late Years, 1989-2005

! When Hill’s wife, LaVerne Gillete became ill, he took time off from recording because

“[his] responsibilities toward her were greater than [his] obligations toward the music.” 58 After

LaVerne died in 1989, Hill took up residence at Portland State University, where he performed

and taught until 1996.59 He became more “visible” during this time, returning to the Blue Note

label to record Eternal Spirit and But Not Farewell in 1989 and 1990.60 At this time, Blue Note

had released nearly all of Hill’s previously recorded sessions due to “strong financial backing”

and successes of more popular artists, such as Norah Jones.61 Hill recorded with Russell Baba,

Chico Hamilton and Reggie Workman between 1992 and 1995. It was in Portland where he met

his second wife Joanne Robinson.62 In 1996, the two returned to New York where Hill was

received “like a prophet returning from the desert.” 63

! After various performances in New York at the Knitting Factory, Sweet Basil, the

Museum of Modern Art and Alice Tully Hall, Hill traveled to France to record two sets of solo

piano at Trinitaires Jazz Club, released as Les Trinitaires in 1998. It was only a year after this

session that he began work with players that would help create one of his most widely

17

58 Friis, Søren. (2003). Trans. Banks, Paul. Original liner notes to The Day the World Stood Still [CD]. The Scandinavian Music Company. STXCD 20412.

59 Ratliff, Ben. (2006, February 24). “Andrew Hill: One Manʼs Lifelong Search for Melody in Rhythm.” New York TImes. http://www.nytimes.com/2006/02/24/arts/music/24hill.html?_r=1&ref=andrewhill. 52.

60 Ibid.

61 Feldman, Garrick. (2007, April 30). “Great Pianist Leaves a Huge Recorded Legacy.” The Leader: Jazz and Blues Music Reviews by Garrick Feldman. http://www.arkansasleader.com/BLUES/2007/04/great-pianist-leaves-huge-recorded.html.



recognized albums, Dusk. The instrumentation was to mimic the Point of Departure sextet at the

request of Knitting Factory owner Michael Dorf, but as Greg Tardy remembers, due to Hill’s

persistent desire to create new music, no musical references to the 1964 album were made.64 This

album represents a distinct change in the ensemble approach due to a more “abstract pulse,” in

which the pulse is not merely obscured through polyrhythm, but is more elastic, moving with the

rubato phrasing created by the soloist. Hill’s rhythms pull and push at the pulse with repeated

and sustained chords played with varied dynamics, articulation and tempo while the bass and

drums create momentum through “energy-rhythm.” Following the success of Dusk, which

received Downbeat’s “Album of the Year” award in 2001,65 and a big band album recorded in

2002, A Beautiful Day, Andrew Hill was awarded Denmark’s Jazzpar prize in 2003, which led to

a live recording made in Sweden, entitled The Day the World Stood Still.66 All three of these

albums feature bassist Scott Colley and drummer Nasheet Waits, two musicians paramount in

realizing Hill’s music during his last few years of recording. Hill won Down Beat “Critics’ Polls”

in 2000 and 2001 and received Jazz Journalist “Composer of the Year” in 2000, 2001, 2003 and

2006.67 Figure 1.5 details the recordings made by Hill.

!

18

64 Tardy, Greg. (2010, July 9, 31, August 3). Telephone correspondences.




Figure 1.5: Final recording period (1989-2005) as a leader68

year album personnel

1989 Eternal Spirit(Blue Note)

Greg Osby (saxophone), Bobby Hutcherson (vibes), Rufus Reid (bass), Ben Riley (drums)

1990 But Not Farewell(Blue Note)

Greg Osby, Robin Eubanks (trombone), Lonnie Plaxico (bass), Cecil Brooks III (drums)

1998 Les Trinitaires(Jazz Friends Productions)

solo piano

1999 Dusk(Palmetto)

Marty Ehrlich (saxophone), Greg Tardy (saxophone), Ron Horton (trumpet), Scott Colley (bass), Billy Drummond (drums)

2002 A Beautiful Day(Palmetto)

John Savage, Marty Ehrlich, Aaron Stewart, Greg Tardy, J.D. Parran (woodwinds), Dave Ballou, Laurie Frink, Ron Horton, Bruce Staalens (trumpets), Mike Fahn, Joe Fielder, Charlie Gordon (trombones), Jose Dʼavila (tuba), Scott Colley, Nasheet Waits (drums)

2003 The Day the World Stood Still(StuntX)

Thomas Agergaard (saxophone), Peter Fuglsang (saxophone), Liudas Mockunas (saxophone), Staffan Svensson (trumpet), Klaus Lohrer (tuba), Scott Colley, Nasheet Waits, Lenora Zenzalai Helm (vocal)

2005 Time Lines(Palmetto)

Greg Tardy (saxophone), Charles Tolliver (trumpet), John Hebert (bass), Eric McPherson (drums)

! Near the end of his career, Hill performed occasionally with Von Freeman, Marty Ehrlich,

Jason Yarde and Byron Wallen.69 He performed most often in a trio format with John Herbert and

Nasheet Waits and employed these two musicians, along with saxophonist Greg Tardy and

trumpeter Charles Tolliver, on his final album, Time Lines (2005), which received album of the

19

68 Lyles, Ronald. “Andrew Hill Discography.” Last modified August 8, 2009. http:/www.jazzdiscography.com/Artists/Hill/hill-disc.htm.


year in 2006.70 On April 20, 2007, Andrew Hill succumbed to lung cancer at the age of 75.71 He

was set to receive an honorary doctorate from Berklee College.72

! Hill first gained public recognition with his Blue Note recordings made between 1963

and 1970. He would return to Blue Note again in 1989 and 1990 with Eternal Spirit and But Not

Farewell after recording on smaller labels throughout the seventies and eighties. These

recordings contain many elements of the hard bop style, including a steady pulse, though the

pulse is abstracted through polyrhythm and open compositional forms. His last four recordings

show a departure from the more or less steady pulse and strict rhythm section roles of his earlier

recordings. Many performances on these final recordings use what can be described as rubato, in

which the ensemble maintains a loose connection to the compositional form and the pulse is

sometimes only implied.

Introduction to Andrew Hill’s Improvisational Style

“A modern day Thelonious Monk.”

! Andrew Hill, described by collaborator Charles Tolliver as “a modern day Thelonious

Monk,” 73 has been met with polite, but vague comments that allude to the obvious depth and

honesty of each of his recordings. However, critics often point to an apparent disconnect between

Hill and the the rest of the ensemble, as well as between his music and the mainstream jazz

idiom. During his improvisations, Hill shifts abruptly between linear improvisation, chordal

20



72 Ibid.

73 Tolliver, Charles. (2010, July 31). Telephone correspondence.

improvisation that floats on top of the pulse with sustained pitches and repetitive chords played

with lilted rhythms. He creates deliberate inconsistencies in the harmony, occasionally altering

the harmonic progression, not by substituting harmonies, but by literally reordering the chords.

Later in his career, Hill used more rubato phrasing within an ensemble context, made possible

with the creative playing by drummers Nasheet Watis and Eric McPherson, employed by Hill on

his last four albums. In the past decade, Hill has received wider recognition as a significant figure

in jazz. However, throughout his career, he has been described as an “acquired musical taste,”

“earthy and ethereal, jagged and elegant,” 74 and the “scourge of the journalists” trying to label

his music.75 Critics have described his music as “instantly recognizable,” 76 “difficult,” 77 and

“captivating but not exactly catchy.”78 His compositions have been described as “romance

tinged with wistful melancholy” with “unusually haunting melodies.” 79

! One difficulty in talking about Hill’s music is due to the wide variety of music he created

during his four-decade recording career. He performed with some of the most progressive jazz

improvisers and, as Hill was not an autocratic band-leader, these sidemen were allowed to

creatively and collectively realize his compositions. This resulted in a wide range of

interpretations of the pulse, from a clear delineation of the pulse, to polyrhythmic playing and

21


75 Truffandier, Domi. (1998). liner notes to Les Trinitaires [CD]. Jazz Friends Productions. JFP 002.

76 Rosenthal, David H. (1989). Original liner notes to Eternal Spirit [CD]. Blue Note Records. CDP 7 92051 2.


78 Ibid.

79 Mandel, Howard. (1990). Original liner notes to But Not Farewell [CD]. Blue Note Records. CDP 7 94971 2.

“energy-rhythm.” Occasionally, Hill obscures or abandons the pulse, while the rest of the

ensemble continues in tempo. As Howard Reich wrote in his article “Innovative Andrew Hill

Playing Tricks with Time,” Hill “virtually ignores the meter his sidemen have established.” 80 On

albums such as Dusk and Time Lines, Hill often lets the bass and drums delineate the pulse,

however abstract, while he creates the harmony through repeated chords played with varied

rhythms, accents and dynamics. Repetitive chords and dyads were used as an improvisational

motive by Hill throughout his career, but on his last four albums rhythm are not only placed

behind the beat, similar to “laying back,” but push ahead of the beat. Unlike many standard jazz

recordings, Hill’s improvisations contains no overt use of scalar patterns, melodic clichés or

quotes of standards or jazz compositions. As Michael Cuscuna puts it:

! Although his music had melody, harmony and rhythm, his conception of each was so ! unique that he was categorized with the avant garde free form movement of that period. ! His music was avant garde in the strictest sense of the term, but it was anything but free ! form. As Monk was lumped into the bebop movement because he was there, so was ! Andrew put into the freedom bag. His music was free of cliché, but that was about the ! extent of it.81

It is the absence of clichéd elements that gives Hill a truly individual style. On his last four

albums, not only is there an absence of melodic references to jazz, there are also extended

periods with seemingly no rhythmic reference to jazz.

Other Pianists

! In an attempt to describe Hill’s piano style, many critics have mentioned comparable

pianists, such as Art Tatum, Earl Hines, Bud Powell, Herbie Nichols and Thelonious Monk.82

22

80 Reich, Howard. “Innovative Pianist Andrew Hill Playing Tricks with Time.” Accessed March 27, 2011. http://www.andrewhilljazz.com/press/showcase-2.html.

81 Andrew Hill: 21 Piano Compositions. (2010). New York: Boosey and Hawkes. ii.

82 Crouch, Stanley. (2002). Original liner notes to A Beautiful Day [CD]. Palmetto Records. PM 2085.

Earl Hines, Barry Harris and Dave Brubeck have been discussed in several interviews, while a

wide variety of pianists have been mentioned as influential in his development.83 Citing

contemporaries, such as Tadd Dameron,84 Bill Evans, Cecil Taylor,85 John Lewis, Paul Bley,86

Ran Blake, Abdullah Ibrahim (also known as Dollar Brand),87 Randy Weston, Elmo Hope and

Mal Waldron88 gives a glimpse into Hill’s synthesis of a wide range of seemingly divergent

styles. Producer Alfred Lion, one of the first to “discover” Hill, saw him as a successor to Herbie

Nichols and Monk - as part of the “percussive school of piano playing reaching back to stride.” 89

Hill had the highest admiration for Art Tatum, stating that “all modern piano playing is Tatum.” 90

Many have echoed critic Howard Reich’s view on Thelonious Monk as Hill’s “central

inspiration.” 91 The insight offered by Hill in the following quote sheds light on his artistic goals:

! Monk’s like Ravel and Debussy to me, in that he’s put a lot of personality into his ! playing, and no matter what the technical contributions of Monk’s music are, it is !the ! personality of the music which makes it, finally.92

23


84 Crouch, Stanley. (2002). Original liner notes to A Beautiful Day [CD]. Palmetto Records. PM 2085.

85 Blumenthal, Bob. (2005). Liner notes to Smoke Stack reissue [CD]. Blue Note Records. 0946 3 3 7777 2 9.

86 Sheridan, Chris. (1976). Original liner notes to Divine Revelation [CD]. Steeple Chase. SCCD 31044.

87 Truffandier, Domi. (1998). liner notes to Les Trinitaires [CD]. Jazz Friends Productions. JFP 002.



90 Spellman, A.B. (1964). Original liner notes to Black Fire [CD]. Blue Note Records. 7243 5 96501 2 8. 5.

91 Reich, Howard. “Innovative Andrew Hill Playing Tricks with Time.” Accessed March 27, 2011. http://www.andrewhilljazz.com/press/showcase-2.html.

92 Spellman, A.B. (1964). Original liner notes to Black Fire [CD]. Blue Note Records. 7243 5 96501 2 8. 2.

Musicologist Andre Hodeir puts it this way in Toward Jazz: “...it matters less what the

[musicians] say than the way they say it. Conviction, rather than creative genius, is [Monk’s] key

to success.” 93 Hodeir goes on to detail the role of form and the relationship between continuity

and discontinuity in Monk’s music, and ultimately the “different jazz,” that followed Monk’s

lead.

! To my mind, Thelonious Monk’s music represents a decisive step toward a different jazz, ! in which the sense of form will assume a major role - not a !stereotyped form based upon ! the outdated notions of symmetry and periodically recurring structures, but an active, ! living form, “a rigorous and irrational organization,” in which discontinuity and ! asymmetry, those pivotal values of all modern art, will constantly challenge those of ! symmetry and continuity, thereby creating a new and fascinating dialectic of musical time ! and space.94

However, Hill detailed a definitive difference between the two: “Sure [Monk] was modern, but

he had a church background. That’s not where I was.” 95 Hill and Monk were both individuals,

developing their technique out of their improvisations, reflected in this quote made by Hill near

the end of his career:

! In a retrospective situation, everyone can play the notes and stuff, but they don’t have the ! magic because they’ve become so homogeneous that something’s lost. In our day, we ! would play, and then the technique would come to fit whatever we wanted to play. But ! today they develop the technique first, then play in a kind of chronological isolation.96

24

93 Hodeir, André. (1976). Toward Jazz. New York: Da Capo Press.156.

94 Ibid. 205.


96 Shipton, Alyn. (2001). Handful of Keys: Conversations with Thirty Jazz Pianists. New York: Routledge. 66.

Stylistic Traits and Ensemble Techniques

! Hill’s compositions were at times fully composed pieces and at other times mere

sketches. In either case, he did not want a “literal translation of the chords,” 97 but rather he

expected his sidemen to take a “creative approach” to delineating harmonies and the pulse.98 He

would often change portions of compositions or alter the tempo between the rehearsal and the

performance.99 Hill, referring to working with a big band for his 2002 recording A Beautiful Day

said:

! I’ve written music where the sections of each piece change from one performance to the ! next, so that it’s not in the least bit predictable how the [program] will develop. Put that ! in front of a [big] band, and immediately they become sober, sharpen up their act, and ! begin participating.

Some of Hill’s compositions make use of vamps with no form, while others can be described as

modal, with extended periods of stagnant harmony. Many compositions, including “Ode to Von”

and “Georgia Ham,” employ open forms in which the harmonic changes are cued by the soloist.

Many of his compositions maintain a more or less steady pulse and are most often performed in a

swing style. However, he also composed ballads, mixed-meter and even-eighth compositions

which show an influence of Caribbean and Cuban music, which Hill was exposed to during his

adolescence.

! If you grew up in an urban environment and like music, you couldn’t help hearing ! it. There were Cuban musicians in the [neighborhood] and I got an opportunity to !play ! with them at an early age.100

25



99 Tardy, Greg. (2010, July 9). Telephone correspondence.


! Hill had a “willingness to experiment in public” 101 and had no problem “working stuff

out right there on the bandstand in front of a bunch of people.” 102 He had a desire to “come up

with something different,”103 and is quoted in an interview as saying that “repetition annoys the

hell out of me.” He also reflected on his days working with big bands, mentioning it was difficult

for him to play the same thing every performance.104 Hill confessed to Ron Horton that he

“didn’t like it when musicians played all of their ‘licks’ or ‘patterns,’ so he tried to keep them off

guard a little.” 105 Scott Colley recalled that “whenever someone started developing a formula [...]

if a player was trying the same things over and over, Hill would do something to get the player

away from it.” 106 Still, Horton describes Hill as a “supportive comper,” but Hill’s “comping”

forced his sidemen to “listen carefully at all times.” 107 Bassist Scott Colley said of Andrew Hill,

“in the true sense of the word, Andrew is an improviser, more than any other musician I’ve ever

met.” 108 To maintain this performance practice, Hill had to take great “care in choosing

26



103 Shipton, Alyn. (2001). Handful of Keys: Conversations with Thirty Jazz Pianists. New York: Routledge. 70.



106 Colley, Scott. (2010, August 19). Telephone correspondence.



musicians to work with,” 109 making sure they shared the same “creative approach to the

music.” 110

! The somewhat vague presentation of his compositions to band members was a means to

ensure a “fresh” and “unpredictable” performance, even for the performers.111 Referring to his

work with Hill for his big band album A Beautiful Day, Ron Horton said:

! I felt he had difficulty in writing out parts for the band with clarity, and that led to a ! lot of confusion at rehearsals...incorrect number of bars, beats in a bar, key signatures, ! accidentals, chord symbols that didn’t sound like what [Hill] was playing, etc. ! Whenever he brought something to rehearsal in his own hand, it would often take a while ! to figure out what he intended.

Colley felt that Andrew did this “deliberately to challenge the band;” to “make sure you were

listening.” 112 Hill was also known to give “some sort of cryptic suggestions” at rehearsals which

the musicians would have to decipher.113 When Colley asked how Andrew Hill wanted a

particular section of a composition played, he received the response, “I don’t play bass. You play

the bass.” 114 His intention was not to baffle his sidemen, but to avoid “stifling” them so they

could “think independently.” 115 Drummer Jeff Ballard recalled a rehearsal in which Hill gave

him some “cryptic suggestion:”

! ...some leaders don’t want to tell you too much, so that they don’t stifle you. If a ! leader...[tells] you exactly what to play, it is going to sound like that every time.

27


110 Friis, Søren. (2003). Trans. Banks, Paul. Original liner notes to The Day the World Stood Still. The Scandinavian Music Company. STXCD 20412.

111 Tardy, Greg. (2010, July 9). Telephone correspondence.





! Conversely, the less a leader says, the more of your own interpretation you put into it. I ! think that is what Andrew wanted! He wanted it different every time.116

During a rehearsal with Hill in which there was a discrepancy in the number of measures among

the parts, Ron Horton remembers asking Hill if a particular composition should have a twelve or

thirteen measure form. Hill responded in a typical manner, “I don’t know, whichever you think is

best...Ok, so we’ll open with that one tonight.” 117 Horton goes on to say:!

! In my sort of naive way, I thought that if I helped to make all of those corrections !before ! the rehearsal, it would save time and everyone would quickly know what he wanted. In ! one sense that was correct. After a long time trying to clarify his music for the rest of the ! group, I realized that rehearsing it to get thing “tight” and clear were not his goals.118

Instead, Hill focused on the collective, striving for a high degree of group synergy:

! These magic moments when the rhythms and harmonies extend themselves and jell ! together and the people become another instrument. These are the things that are priceless ! and can’t be learned; they can only be felt.119

! As David Rosenthal stated in the liner notes to Eternal Spirit: “Hill’s harmonic sense

brings him close simultaneously to the atmosphere of much hard bop, to Monk, and to Debussy

and Ravel...”.120 However, Hill, firmly disagreed with the connection to a classical style in a

2003 interview- “...you can’t make comparisons between me and classical music - no!” 121 Hill

simply described his music as “jazz with feeling.” 122 As Charles Tolliver pointed out, Hill voiced

28


117 Ibid.

118 Ibid.





things “classically,” but the “drums made it jazz.”123 The comparison to classical piano highlights

a trend away from the strong articulation of bebop and hard bop.

29


CHAPTER TWOMelody and Harmony in the Improvised Solos of Andrew Hill

! Andrew Hill’s melodic and harmonic techniques grew out of the synthesis of elements of

hard bop and avant garde. In this chapter, I will first discuss Hill’s improvisational techniques as

they relate to melodic and harmonic conventions of bebop and hard bop, such as approach tones,

enclosures, linear chromaticism and a “blues sensibility.” Next, I will highlight particular

elements of his improvisational style that display his progressive aesthetic, showing a tendency

toward the avant garde and an expansion of bebop techniques. In particular, I will provide

examples of Hill’s use of diatonic and chromatic planing, tone clusters, expanded bebop

techniques, “motivic loops” and superimposed structures.

Approach Tones and Neighbor Tones

! One of the most basic elements of bebop chromaticism is the approach tone, an

ornamentation comprised of diatonic and chromatic notes above or below the target pitch. Target

pitches are most commonly chord-tones which define the harmony (1, 3, 5, 7), though other

pitches may also be targeted. The following excerpt displays upper approach tones (bracketed)

leading to the target pitch (circled) on the downbeat.

Example 2.1: “Penthouse Party” (measure 48 and 49)

Neighbor tones are distinguished from approach tones by the fact that the target pitch is

established first, before moving to the neighbor tone and resolving back to the target pitch. The

30

following two examples show the use of neighbor tones (bracketed) a diatonic second away from

a target pitch. In Example 2.2, the neighbor tone (circled) is a half-step above the target pitch,

while the neighbor tone in Example 2.3 is a whole-step below.

Example 2.2: “Yellow Violet” (measures 17 and 18)

Example 2.3: “Ode to Von” (measures 54 and 55)

In the previous examples, the neighbor tone occurs on the off-beat, while the target pitch is on

the strong beat. In the next example, lower approach tones (circled) are placed directly on the

beat.

Example 2.4: “Ode to Von” (measures 44-46)

31

Enclosures (Surrounding Tones)

! Enclosures are comprised of two or more chromatic or diatonic neighbor tones that

surround a target pitch. In an enclosure, the neighbor tones are stated first, before resolving to the

intended target pitch. This type of chromaticism was common to bebop improvisers, exemplified

in the the following excerpt from Charlie Parker’s solo on “Donna Lee.” Example 2.5 shows an

enclosure (bracketed) around the seventh of the chord (A-flat) with a diatonic scale-tone above

and below the target pitch (circled).

Example 2.5: Basic enclosure - Charlie Parker124

Similar enclosures are found in most of Hill’s improvisations, including this next example of a

basic enclosure (bracketed) from “Penthouse Party.” This simple enclosure has a single note

above and below the target pitch (circled), the third of the chord, though enclosures may be

comprised of two or more notes above and below the target pitch.

Example 2.6: “Penthouse Party” (measure 31)

Many enclosures can be used in conjunction, either adjacent or separated by “connecting”

material, as in Example 2.7. Here, several enclosures (bracketed) surround target pitches

(circled) that are the fifth, third and root of F major.

32

124 Abersold, J. and Sloan, K. (1978). Charlie Parker Omnibook. Michael H. Goldsen, Atlantic Music Corp. 49.

Example 2.7: “Penthouse Party” (measures 50-53)

During the sixties, Hill’s use of bebop chromaticism become more obscured, but enclosures can

be identified in his improvisations throughout his career. Example 2.8, from “Ode to Von” shows

ample use of chromaticism and enclosures (bracketed) which have a striking similarity to

Parker’s improvisation from “Au Privave,” shown in Example 2.9.


Example 2.9: Series of enclosures - Charlie Parker125

Three adjacent enclosures conclude the phrase shown in Example 2.10. Linear improvisation,

shown in the following example, occurs frequently in his 1975 solo improvisation over “Here’s

That Rainy Day.”

Example 2.10: “Here’s That Rainy Day” (measures 22 and 23)

33

125 Ibid. 25.

Similar to neighbor tones, enclosures (bracketed in the following example) may also be

constructed of notes that are not adjacent to the target pitch, as in the example below (target

pitches are circled).

Example 2.11: “Penthouse Party” (measures 56 and 57)

The next example, from “Georgia Ham,” shows a slightly more complex enclosure, obscured

through rhythmic variation.

Example 2.12: GEORGIA HAM (measures 60-2)

Linear Chromaticism

! Along with approach tones and enclosures, Hill often uses linear chromaticism as a

means to obscure the harmony. Example 2.13 shows a descending chromatic scale (bracketed)

that is concluded with an enclosure around B.

Example 2.13: “Yellow Violet” (measures 11 and 12)

&?

bbbbbb

Ó ! œ œb œ œb œ œ œbÓ Jœœœ ‰ Œ

Gsus C min7 Bbmin7 œ œ œn œ Œ ‰ œ œ œÓ ‰ J

œœœn Œ

A ø7

&?

bbbbbb

13 œ œ œ œ œ ‰ œ œ"

Abmaj7

œ œ œ ˙b3

"

Dbmaj7 "‰ jœœœ Œ ‰ œœœb ‰ œœœœ ‰ Jœ œ ‰ Jœ

C min7 Bbmin7

&?

bbbbbb

16 Ó œ œ œ œ œœ ..œœ œœ3‰ jœ œœ œœœ œœœœ

œœœœ œœœœ œœ

C min7

&?

bbbbbb

Ó ‰ œ œ œ œ œ œ ..œœ œœ6

"

C-7/Bb œœ œ œ Œ œ Œ"

Ab G 7

&?

bbbbbb

19 ! .Jœ œ# œ œ œ œ œnœœœœ Œ Ó

C min7 C min/Bb.œ Jœ œn œ œ œb

"

Eb7

œn œœœ œ œn œœ œ"

F 7 G 7

2 Yellow Violet

laid back

2nd chorus

34

In “Penthouse Party,” three adjacent chromatic notes (B, B-flat and A) are used as the bottom

pitches of a series of dyads, shown in Example 2.14. The top note, F, remains constant while the

bottom descends and ascends chromatically (bracketed).


&?

bb

21 . .. .. .˙̇̇bbjœœœnnn

‰ ..œœ ‰ ..œœ

Gb/C ‰ jœœœbb œb œ œ œ œb œ œn œœœ ˙̇ œœ

œ œœb œ œb œ œ œ œœ3

‰ ..œœ ‰ ..œœ

F 7/C

&?

bb

œœ œœ œœn œœb œ‰ ..œœ ‰ ..œœ

œb œ œ œ œœn œœb œœ3

‰ ..œœ ‰ ..œœ

F 7/C

œœ œœn œœb œ œb œ œ œ3

‰ ..œœ ‰ ..œœ

œœn œœb œœ œœ‰ ..œœ ‰ ..œœ

&?

bb

œœn œœb œ œb œ œ œ jœb œœn3

‰ ..œœ ‰ ..œœ

œœb œœn œœ œœb œ‰ ..œœ ‰ ..œœ

Bb7/C

œb œ œ œ œœ œœ œœ3

‰ ..œœ ‰ ..œœ

&?

bb

œœ œ œ# œ œ œb œb‰ ..œœ ‰ ..œœ

F 7/C ‰ œœ̂jœœbb -

jœœ œœ## -jœœnn

‰ ..œœ ‰ ..œœ

&?

bb

33 œœ œ œ œ œ œ œœ œœnb‰ ..œœ ‰ ..œœ

G-7/C œœ œ œ œ œ œ œ œb œ œ3

‰ ..œœ ‰ ..œœ

C 7

jœ# œœ œœn œœ# œœ‰ ..œœ ‰ ..œœ

F 7/C

2 Penthouse Party

2nd chorus

Most material in Hill’s improvisation on “Here’s That Rainy Day,” other than quotations and

paraphrases of the melody, can be analyzed as linear chromaticism and enclosures. The following

examples show the use of linear chromaticism and enclosures in conjunction (brackets indicate

chromaticism and enclosures).

Example 2.15: “Here’s That Rainy Day” (measures 15-17)

&?

#

#! .Jœ œ œ œ ! œ œb œb œ œœ œnœœœœ. œœœœ œœœœbnbb œœœœ

G Bbmin7

Fœa œ œ# œ œb œb œn œn œ œn œ# œ œ œb œ œ#œœN œœn

œ œ

D 7

f.œ J

œœ ˙̇

œ œœœ œœbn œœ

G Gmin7

P

&?

#

#

18 ‰ œœœœb Jœœœœnn ‰

œœœœbJœœœœ

œb œœœnœœbb œ

Bb7 wwwwb

œœbbœb œœnb œœ

Eb Fmin EbŒ ‰ J

œœœœb ‰ œ œ œ

œbœ

œb œb

˙ Œ ‰ œn œb3

œœœœœœ œ#

œœ#

Amin7 E/G#

&?

#

#

œ ! œn œ œ œb œ œ œn œ# œn œ œbœœ

œœœ Œ œœœœb

Amin7 D 7

œ œ# œ œn œ œ# œ ˙œœ.

œ. œ. œœba>

G Ebo7

˙ ‰ œb œœnn ‰ œ œb3

œœn . œœ- œœ œœœ

Dmin7 G 7

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#

#

jœ .œ .œ Jœ

œ œ œœ œœ- œœbb

-

C Bmin7 Bbo7

f.œ jœ œœœœœ œœœœœ

œœœœœ. œœ- œœ-

Amin7 D 7

Œ œœœœ œœœœ œœ# œœœ3

œ œ œ œ# œ3

Bmin7

....˙̇̇̇ œœœ#Œ ˙ œ#˙

Emin11

FŒ . Jœ .œ J

œœ

œ œœ#

œœœ#

Amin7 E7/G#

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#

#

œœ œœ .œ œ œ œb3

œ œœœ

œœœ#n

Amin11 D 7 œ .œ œ ‰ œb œ# œ œn œb3

3

œœ œ œœœ œœœbbn

G Bbmin7

Œ̇ ‰ Jœœœ œœœ œœœ œœ3œœœ

œœœœ

œœœœb

Amin7 D 7

2 Here's that Rainy Day

35

The use of chromaticism is more pronounced in his solo on “Ode to Von.” Examples 2.16 and

2.17 show the use of ascending chromaticism with a “pivot pitch” (C), which interrupts adjacent

pitches of the chromatic scale.


&?

bb

bb

35

˙̇̇ jœœœ œœœjœœœ

‰ œœ jœœ jœœ œœ jœœ

Cmin9

&?

bb

bb

jœœœ œœœ jœ œ œ œn œ œ œ œb œ

˙̇ Óœn œ œ œ œb œ œn œ œ œ œb œ œn œ œ œÓ ˙̇˙

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bb

bbœ œ œn œ œ œ œb œ œn œ œ œ œb œ œn œÓ Œ œ

œ œ œ œ œn œ œ œ œb œ œ œ œ œ œb œœ ..˙˙b

Bb7

&?

bb

bbœ# ! œ ! œ ! œ# ! œ ! œ# ! œn ! œ !

œ Œ ‰ Jœœœœnb œœœœ

œ ! œ ! œ ! œA ! œ ! œn ! œ œ

Œ œœœ# ‰ Jœœœ Œ

Ab7

3Ode to Von

Note the similarity between Examples 2.14 and 2.16, as both combine linear chromaticism with a

repeated pitch. The former example uses dyads, while the latter uses “broken dyads,” juxtaposing

chromaticism with a repeated pivot pitch. The next example shows a similar technique, though

the pivot pitch is not played consistently and does not remain static.

36


&?

bb

bb

!Œ œ ¿ œ ¿ œb ¿ œn jœb3 3 3

‰ .œ

G 7

œ jœ ¿ œn ¿ œ ¿ œ# j¿ œ3 3 3

˙˙ Jœœ ...œœœb

Cmin11Ebmin7

&?

bb

bbœ# ¿ œ ¿ œ ¿n œn ¿ œ ¿ œ# ¿b6 6

‰ ...œœœbb Œ ‰ Jœœœœ

Ebsus œ ¿ œ ¿ œn ¿ Œ œ6œœœœ Œ J

œœœb œœœ

Eb7

&?

bb

bb

‰ œ œ# œ œ œ# œn œ œn œn œ# œ3 3 3 3œœœb Œ Ó

œn œ œ# œ œ# œ ‰ œ# œn œb œ# œn ‰3 3

Œ ‰ Jœœœb ˙̇̇

Ab7

œœ# œ œb œ œn œ œ# œ œ œ# œ œ œ œn3 3

Ó Œ ‰ Jœœœ

&?

bb

bb

œb œ œ# œ œ œ œn œ œ œ œ# œ œ œb œn œwww

C min7

œb œ œb ‰ œb œ œ œ œ œ œ œ œ œ œn œ œb œ œb6

5

Œ ..˙̇b

Eb7

8 Ode to Von

The following two examples display Hill’s harmonization of ascending chromaticism. Example

2.18 shows a typical stride piano technique used by pianists such as Earl Hines. This is primarily

a harmonic device, implying a I, ii, #iio, iii or B-flat major, C-minor, C-sharp diminished,

B-flat/D progression that connects the I (B-flat) chord to the IV (E-flat) chord. Example 2.19

shows this technique in thirds, occurring in several places throughout his improvisation.

Example 2.18: “Here’s That Rainy Day” (measures 43 and 44) !

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#

#

33 œœ ...œœœ ˙̇̇ ‰ jœœœbn˙ œœbn œ

G Gmin7 ...œœœbn Jœœœœbb ˙̇˙˙

œn Œ œbœa

Bb7

!

œbœœnb

œœb œœ#nŒ ‰ J

œœœnnb Œ ‰ œ œ3

œbœb Œ œœ#

Eb

&?

#

#

37 œb œ ‰ Œ ‰ œ œ œ œ œ œ3 3

œœœœ

œ Œ

Amin7 œn œ# œ œb œn œb œb œn œ œ œn œ# œ œ œb œ œ#3

6

œœœœ

œœ

c D 7 œ œ œ œ# œ ÓÓ œœ œœba

&?

#

#Œ ‰ œ œn .œ œ œ

œœn œœ Œ œ

Dmin7 G 7 œ œb œb .œ œ œ œ œn œ

œœn Œ œb

Cmin7

‰ Jœ# œn œb œ œ# œ œa œn œ œbœœbb

œn œn œ

F 7

&?

#

#

43

˙ Ó‰ jœœb

œœbjœ#

œœn jœœœn

Bb Cmin C#o7 Dmin

Œ " œ œb œb œn œ œb œ œb

jœbœœ

œb œœb œœ#

Eb Bbmin7 Eb7

PŒ ‰ Jœ. Jœ œœœb jœœœ

œœœœ œb œb

Amin7 Bb7

&?

#

#

46 Ó œ œ œœœœb œœœœ3 3

œ œœ œ

Amin7 D 7

..œœjœœœ ‰ ..œœ

œ œ œb œ

G Bb6

Œ ‰ œ œ œ œ œ œb œ .œ#œœ œœ

œœœb

Amin7 D 7

" .Jœ œ œ œ œb ‰ œ œ3

œœœœœœœ œœœœbn œœ

G Gmin7

3Here's that Rainy Day

A Little Faster

Blues Sensibility

! Hill makes ample use of what he described as a “blues sensibility” 126 through the

employment of blues scales, pentatonic scales, blues harmonies, “blues tones” and blues licks.

37


Blues ideas like these became a major component of bebop and are even more prevalent in hard

bop. Example 2.19 shows two common blues scales used by Hill.

Example 2.19: F Blues scales

& 44 œ œ œb œ œ œœbb œ œG7 Ó œb œb œ œ œb œ œ œb œb œ œb œCmin Ebmin ! œ œb œ œb œBb7

&6 !

& œ œ œ# œ œ œ# œn œn œb œ œ œ œ œ œ œGmin œ œ œb œ œ œ œ œ œb œ œb œ œ œ# œ œ œ3

C7

œNF

& œ œb œb œn œ œb œ œ œb œn œ œ ! !

&14 ! ! ! !

&18 ! ! ! !

&22 ! ! ! !

&26 ! ! ! !

[Title][Composer]

Score

Most of the other selections on So in Love incorporate a blues modality or vamp at some point

during the improvisations. The following example shows the beginning of Hill’s solo on

“Penthouse Party,” a blues in F.


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54 œœ œœ œœb œœwww

œœ œœb œ Œ‰ J

œœœœbb Œ ‰ Jœœœœ Œ

F 7

Ó œ œn œœ œœbb

Œ ‰ Jœœœœbb Œ ‰ J

œœœœ

D 7

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bb

57 œ œ œ œ œ œ œ# œ œ œ œn œb3 3

Jœœœœ ‰ Œ Œ ‰ J

œœœbG min7

œ œ œ œœbb Œ œœ œ œ œ#Œ ‰ Jœœ Œ ‰ J

œœœb

C 7

œ œ œ œ œ œ ŒŒ ‰ Jœœb Œ ‰ Jœœ

F 7

Ó ‰ œ œ œŒ ‰ Jœœ ‰ œœ ‰ œœb

C 7

&?

bb

jœ# œœ jœ œœ jœ œœ jœ œœJœœ œœb Jœœ Jœœ œœ Jœ

F 7

œœn œœb œœ œb œJœ œ Jœ œ œ œœb

Bb7

œœ œb œ œ œ œ œœ Œ˙̇ Œ ‰ jœœœb

F 7

Ó ‰ œ œb œœb

‰ œœœb ‰ œœœ ‰ œœœ ‰ œœœbœœb œœ œœ œœŒ ‰ J

œœœb ‰ œœœ ‰ œœœ

Bb7

&?

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66 œ œœ# œ œ œb œ œœb‰ ...œœœb

Jœœœ œœœ J

œœœ

œœ œœ ‰ œœbb ‰ œœ ‰ œœnwww

F 7

‰ ..œœ œœb œœbb ‰ œœnb‰ ...œœœb Œ ‰ J

œœœn

D 7

‰ ..œœ œœ œœb Œ˙̇̇ Œ ‰ Jœœb

G min7

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70 œœb œœn œœbb œœ œ œ œ œ#Œ ‰ Jœœ ‰ œ ‰ œœ

C 7

œ œ œ œ œ œ œ- œœ^ Œ

Œ ‰ Jœœœb Œ ‰ Jœœ

A min7 D 7

Œ œ œ œ œb œ œ œ3 3

‰ Jœœ Œ Ó

G min7 ...œœœ##jœœœnn œœœ œœœb

...œœœ# Jœœ# œœ œœœbn

A 13(b9)D 13(#9) Gb ±7

4 Penthouse Party

The following excerpt from “Ode to Von” contains not only a reference to the blues scale, but

also an implied tonic-to-subdominant harmonic progression found in the blues. The obvious

blues inflection found in the following example, tonicizing F, is obscured with an E in the left

hand. The following examples are the only two instances of blues inflections found in Hill’s

improvisation on “Ode to Von.”

38


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bb

95 œ œb œ œ œ Œ ‰ œ œ

Ó ‰ ..œœbœ œb œ œ œb œn œb œ œ œ œn œb œ3

33

Ó Œ ‰ Jœœœ

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bb

bb

97 œ œb œ œb œ œ œ œn œb œ œ œ œn13

Œ ‰ jœ œœœœ

œb œ œ œb œn œb œ œ .œb jœjœ

Ó œ Œ

&?

bb

bb

99 Œ jœ œb . œn . œ-

!

œ œ œ œ œ Œ ‰ jœœœnb

Jœœœ ‰ Œ Ó

...œœœ Jœœb ‰ ..œœ>

!

&?

bb

bb

" œ œœb œ œœ œœ œ œ œ œ œ œ œn " œœ œn œb œ œb œ3 6 3

˙n Jœ Œ Jœœœœb

œ œ œ .œ œœ œœ œ. Jœœb .3wwww

Bb7

9Ode to Von

even


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bb

bb

œœœ ‰ œœ œ œœ œ œœ œ œœ œ3 3 3

œ ‰ Jœœœœb ‰

œœœœ ‰ œœœœ ‰ Jœœœœ ‰

3 3 3

F min7 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ3 3 3 3œœœœb ‰ œœœœ ‰ J

œœœœ ‰œœœœ ‰ œœœœ ‰ J

œœœœ ‰3 3 3 3

&?

bb

bb

œ œ œb œb œ œn œ œ# Jœn3 3 3œœœœb œœœœ œœœœ œœœœ œœœœ J

œœœœ3 3

Bb7 Jœ œ œ œ œ .œ œn œb œ3 3 3

Jœœœœ œœœœb œœœœ œœœœ œœœœ œœœœ3 3

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bb

bb

œb œ œb .œ œ jœn œ Jœ ..œœbb3wwww

Œ .˙

..œœ Jœ Jœ .œ

‰ ....œœœœb ....œœœœ Jœœœœn

F min7

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bb

bb43

43

c

c

Jœ œ Jœ .œ jœ Jœb

œœœœ Œ ‰ ...œœœb

Eb7

Jœ .œ ‰ œ Jœb...œœœ Jœœœœb ˙˙˙˙

Ab7 .˙˙˙˙˙ œœœœ œœ

5Ode to Von

The next two examples display the most overt use of blues on “Yellow Violet.” This composition

is in C minor, but the following examples seem to tonicize G in Example 2.23 (bracketed) and E-

flat in Example 2.24.

39

Example 2.23: “Yellow Violet” (measures 40-45)

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bbbbbb

œb œœ œ œœ œ œœn ‰ œn3

Œ ‰ Jœ# Ó

F 7

œœn œœb œœ Œ œœb3

Ó œ œœ

G 7 C min7 Bbmin7

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bbbbbb

.œn œ œ Œ œ œb œ œ˙˙˙̇nnn Ó

A ø7

œ ‰ œ œ œ œ œb œ œ œ œ œ5

!

Abmaj7 ‰ . rœ œ œ œ œb œ œ œ œ œ œ œ œ‰ ...œœœb Œ

œ

Dbmaj7

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bbbbbb

" " "

œ œb # œ œ œ œ œ œ œn œ# œ œ œn œ œ œ3

‰ JœœœnŒ ˙b

C min7 Dbœ œ œ œb œ œ œ œ œ œ œ œ œn œ œ œb œ

3

Œ œ ‰ Jœœœ Jœœœ ‰

C min7 œ œ œb œ œ # œ œ œ œ œ# œ

Ó # .jœ Œ

C min/Bb

&?

bbbbbb

46 .œ Jœ œ œ œb œ œn œ œnÓ J

œœœœ Œ Jœœœn

Ab G 7

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bbbbbb

47 ‰ œ œ œn œ œ œ œ œ# œ ‰ œ œb3

‰ œ œ œn œ œ œ œ œb œœn# ‰ œ œb3

C min7 C min/Bb œ œ œ œn œ œb œ œ œ

œ œ œ œn œ œb œ Œ

Eb7 œœ## œœ ‰ œœ œ œn ‰ œ

œ# œn œ œ œ

F 7 G 7

4 Yellow Violet

laid back

Example 2.24: “Yellow Violet” (measure 23)

&?

bbbbbb

22 œA œ œ œn œ œŒ

œœœœ Œœœœœn

C min7

&?

bbbbbb

Ó œœœ#b > œœœn > œœ>3

Óœœœb

#œn

œœ

3

Bbmin7

Eb7

Ó Œ ‰ Jœ!

Eb7 F 7

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bbbbbb

25 œn œ œ œ jœ ‰ œœœb -‰ J

œœœœn Œ ‰ jœ œœœb -Gsus C min7 Bbmin7

&?

bbbbbb

26

wwwwwnn

A ø7

Œ ‰ jœ œ# œ œ œ œ œ œ3 3

!

Abmaj7

œ .œ œ œ œ œb œŒ ‰ Jœœœ Ó

Dbmaj7 Œ œœœ Œ Œ ‰ œ œb3 3

œ ‰ jœ œ Œ

C min7 Bbmin7

&?

bbbbbb

30

œ œb œ œ Ó3

!

C min7 Œ œ œ œ .œ Œ‰

...œœœ Ó

C min/Bb‰ œ œ œb œ

œœnœ Œ3

œœ#nœœ

œœ3

G 7Ab

3Yellow Violet

Overt blues inflections like these do not occur as frequently during solo improvisations recorded

later in his career. On “Here’s That Rainy Day” and “I’ll Be Seeing You,” blues melodies seem to

be supplanted by references to the melodic material from the compositions. On his last recording,

Time Lines, the influence of the blues can only be heard in the use of minor pentatonic melodic

resolutions, shown here at the end of the melody. In the following example, bracketed notes are

derived from D minor pentatonic.

40

Example 2.25: “Malachi”

& 44 .. .. ..’’’’Dmin11/A

Rubato q = 80

˙ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙ œ œ ˙ w

& Ó œ œ œ œ œ œ w ˙ ˙ œ œ œ œ ˙ ˙Bb6 B ø7

˙ œ œ

& .. ..˙ ˙G 7 ˙ ˙ wwDmin13/E ˙̇ ˙̇ ˙ ˙E7 œœ œœ ˙̇Aminb6

’’’’D.C. for solos

& ˙̇ ˙̇Dmin ˙̇ ˙̇ œœ œœ ˙̇ ˙̇ ˙̇ ˙̇ œœ œœ ww Ó ..œœjœœ

& œœ œœœœ œœ ww ˙ ˙̇ œœ

œœ œœ œœ ˙̇ ˙̇Bb6 B ø7 ˙̇ Jœ .œ

& ˙̇ ˙̇Dmin/C ˙̇ ˙̇ wwG 7 ˙̇

˙ ˙̇ ˙̇E7

& .. ..œ œ ˙Amin

’ ’ ’ ’

Aminor, Dminor11/A, Fmaj7, G7

Dmin/A

LAST TIMEExpanded Melodic and Harmonic Concepts: Planing, Tone Clusters, Expanded Bebop, Motivic Loops and Superimposition

! Hill expanded beyond typical hard bop improvisation with the incorporation of diatonic

and chromatic planing. In “Malachi,” planing appears in the form of descending diatonic sixths

in A Aeolian. This performance maintains a highly rubato pulse throughout, which has been

notated in the following example through the use of tenuto and shifting meters.

Example 2.26: “Malachi” (measures 34-36)

&?

30

œœ. œœ. ‰ jœœ ww3

œœœb . œœœb . ‰ Jœœœn œœœ œ œ œ

3

P pŒ ‰ œ œ œ

3

.˙

œœ œœ œœœœ

...˙̇˙ œœFœ œ œ œ .œ œ Jœ .œ3

œ œ œ œ .œ œ œ#

&?

œœ œœ œœ œœ œœ œœœ œ .œ œ œ .œ œ œ œ Jœ .œcresc.P

œœ œœ œœ œœjœ ˙̇ ˙̇

œœ ˙̇œœ ˙̇

‰ .œ wŒ œ œœ œ ‰ jœœ ˙̇

.œ Jœ œ œ ˙ œf P

&?

38 ‰ œ œ œœ œ ‰ jœ ‰

.œ Jœf

! rœ .jœ ˙Œ ˙

˙˙˙˙ œœ œœjœ ˙ œ œF

œœ œœ ˙̇̇Œ ‰ jœ œ œ œw

&?

"42

œ œ œ œ œ ˙3

! œ œ .œ œ#

Pœ œ œ ˙̇3

œ œ ˙#

jœœœ ...œœœ œœœ œœœ œœ œœ œœ œœ œœ

˙ œ œ œ Œ ‰ jœ3F

Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3

w œ

&?

" "46 Ó Œ jœ Jœ œ

3œ jœ œœ ˙̇̇3

Jœ

œ œ œ œ œ œ œ œ3

Œ œ Jœ Jœ œ œ3 3

œ œ œ jœ œ3

..˙̇ œ œ

Œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

œ œ œ œ œ

#

3Malachiten. ten.

ten.

ten.

Planing of diatonic sixth occurs in many improvisations, such as the following example from

“Yellow Violet.”


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C min7 Ó œœœ#b > œœœn > œœ>3

Óœœœb

#œn

œœ

3

Bbmin7

Eb7

Ó Œ ‰ Jœ!

Eb7 F 7 œn œ œ œ jœ ‰ œœœb -‰ J


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bbbbbb

26

wwwwwnn

A ø7


!

Abmaj7



œ ‰ jœ œ Œ

C min7 Bbmin7

&?

bbbbbb

30

œ œb œ œ Ó3

!


...œœœ Ó


œœnœ Œ3

œœ#nœœ

œœ3

G 7Ab

&?

bbbbbb

33

Jœœn#

œœ ‰ œœn œœnœœb œœ

œœœœ œœn#

3 3 3

C min7 C min/Bbœœ

œœn

œœ

n œœ#

œœ

n œ œb œN œ œn œ3

Jœ ‰ Œ

Eb7 œ œ œn œ# œ œn œn œ œœœn ‰ J

œœœn Œ œœœœ

F 7 G 7

&?

bbbbbb

œœn œn œœb œ œœ Œ‰ Jœœœn Œ Œ ‰ Jœ

C min7

œ œœ œ œœb œ œœ œb œœÓ ‰ œ ‰ œ

Bbmin7 Eb7


Œ ‰ Jœ# Ó

F 7

3Yellow Violet

In the next example, Hill augments the planed sixths in the right hand with a parallel, single-note

line in the left hand. These three-notes can be thought of as a closed-position, first-inversion triad

41

with the middle note displaced down an octave. After a descending gesture (bracketed), Hill

varies the intervalic content of the three-note chords.


&?

bb

bb

! œ œœb œ œœ œœ œ œ œ œ œ œ œn ! œœ œn œb œ œb œ3 6 3


œ œ œ .œ œœ œœ œ. Jœœb .3wwww

Bb7

&?

bb

bb

104

Jœœ œ. œœ. œn . œœb . œ. Jœ.3 3

3

Ó Œ ‰ Jœœœb

Jœ œ. œœb . œ. œœb œœb3œœœ Œ Œ œ œ

Ab7

&?

bb

bb

œœb œœ œœb œœ œœ Œœb œb œ œ œ œ

œœ œœb Œ œœ œœ œœ œœ3

œn œ Œ œœ œœ œœ œœ3

˙

Ó Œ œœ œœ3

Ó Œ œb œ3

Œ .˙

&?

bb

bbœ# œ œ œœn œœb œœ

3

œœb œœnn œœ œ œb œ3

œœb œœ œœœb œœœb œœœb œœœœnn3

œœ œœb œb .œ jœœn3

˙̇̇̇ jœœœ œ jœœ˙̇ jœœ œœ Jœ

10 Ode to Von

Again in “Ode to Von,” Hills uses descending diatonic sixths, though these are “broken dyads,”

rather than a clearly planed gesture. Broken planing like this is a technique exploited by Hill in

many of his improvisations.


&?

bb

bb

17

˙ œ œ œ œ3

wwww

F min7

˙ .œ jœ˙̇ ..œœn

Jœœœœb

Gsus C min7 ‰ œœb jœœb ..œœ jœ‰ œœœbb Jœœœb Jœœœ ...œœœ

Db7 Ebmin7 œ œ œ œ .œ Jœ3

. .˙ Jœœ

&?

bb

bb

21 ˙ ‰ œœ œœ œœb

.œ jœb ˙w

Ebsus Ebmin7 ˙̇b ‰ œ Jœ˙̇ ..œœ

jœœbŒ ‰ Jœ .œ ‰

Eb7

Jœ œ jœb ˙..œœ Jœœb ..œœ jœ

œb

D7alt Db7

˙ ‰ œ œb œ‰ œœbb ‰ œœ ˙

&?

bb

bb

25 www#Œ ‰ J

œœœœ Œ œœœœ

G min7

.œ jœn jœ œ jœ˙̇˙˙ ....œœœœ Jœœœb

.œ jœ œ œ œ œ˙̇˙ Ó

F min7

˙ œ œ‰ .œ Ó

Gsus G 7

&?

bb

bb

29

œ œœ ˙̇‰ J¿ Œ Œ ‰ Jœœœb

C min7

œœb œœ jœ œœb œœb˙̇˙ Ó

Ebmin7

&?

bb

bb

jœ# ˙̇ ..œœ œ œ

Œ ‰ Jœœb ˙̇

Eb7

œ .œb œ .œ œb .œ œ .œb

!œ œb œb œ œb œ

3 3

!

D7alt

œ œb ¿ œ# œ œœœn!

Db7

2 Ode to Von

Similar methods are used in “Here’s That Rainy Day.” This time, Hill employs broken planing of

perfect fourths. Notice the similarity in rhythm that is used for the two-note gestures in Example

2.29 and 2.30.

42


&?

#

#



œn Œ œbœa

Bb7

!

œbœœnb



œbœb Œ œœ#

Eb

&?

#

#œb œ ‰ Œ ‰ œ œ œ œ œ œ3 3

œœœœ

œ Œ


6

œœœœ

œœ

D 7 œ œ œ œ# œ ÓÓ œœ œœba

&?

#


œœn œœ Œ œ


œœn Œ œb

Cmin7


œn œn œ

F 7

&?

#

#

43

˙ Ó‰ jœœb

œœbjœ#

œœn jœœœn

Bb Cmin C#o7 Dmin


jœbœœ

œb œœb œœ#

Eb Bbmin7 Eb7


œœœœ œb œb

Amin7 Bb7

&?

#

#Ó œ œ œœœœb œœœœ3 3

œ œœ œ

Amin7 D 7


œ œ œb œ

G Bb6


œœœb

Amin7 D 7



G Gmin7


A Little Faster

In “Georgia Ham,” dyads are transposed chromatically, rather than diatonically, as in the above

examples.

Example 2.31: “Georgia Ham” (measures 161-163)

&?

160 œœ œœ œœ œœ œœœ ...˙̇̇.˙ œ .œ Jœ#

&?

Œ jœœ## œœ Jœœb ‰ œœ J

œœ Œ!

œœ## œœ œœb œœ œœ œœ# Œ4

Ó . ‰ jœ ˙

Œ ‰ jœœ## œœ œœb œœ œœ.w ˙# .˙

..ww

!

12 Georgia Ham

The next example from “Georgia Ham” shows Hill’s use of dyads in which the bottom note

remains static. This composition is in E minor, but is highly ambiguous throughout, as displayed

by the chromatic motion between the major second, minor and major third and fourth scale

degrees above E.


&?

135 ! Œ ‰ jœœœÓ . ‰ jœ ˙.w

&?

136 ˙̇̇ ...˙̇̇ œ œœ ˙ .œ .œ

œ œœ# ŒÓ œ œ œ ˙.w

Œ œ œ œ œ œœœ> ‰ .œ3

.wp f

.œ .œ# ...˙̇̇#

.w#

&?

140 œœœ œœ ˙̇ ..˙̇!

&?

"

..˙̇ ˙̇ œœ# œœŒ ˙ œ ˙

œœN œœ# Œ œœn ‰ jœœ# Œ!

œœ œœ# œœ œœb œœ ..œœ jœœ4

!œ œ ˙ ˙ œœ œœ#.˙ ˙Ó ‰ jœ Œ ‰

&?

Œ œœ# œœ œœn œœ# œœn œœ#!

Ó œœ- œœ# .Œ œœ#

Œ ‰ Jœ Œ ‰ jœœbb Œ ‰ jœœ

Œ œœ# Œ œœ# œœ œœŒ ‰ jœœ Œ ‰ jœœbb Œ ‰ jœœnn

Œ jœœ# .œ œ œ œœ œ#4

.˙!

10 Georgia Ham

43

Chromatic planing of triads occurs in Hill’s improvisations over “Here’s That Rainy Day” and

“I’ll Be Seeing You,” shown in the following example (bracketed).

Example 2.33: “I’ll Be Seeing You” (measure 105-107)

&?

bbb

bbb

œœœbb œœœn œœœbn œœœ œœn œœb3

Œ ‰ jœœœb œœœ œœœbb

G o7 Gbmin7

œ ‰ œ œœœn œœ œœœb3

œ œ œœn .œ œn .œ œb .œ œ3

Fmin7

œœn œœ œœb œœ œœ> œœ>3

Œ ‰ . rœ œ .œ œ ˙3

Bb7

f

&?

bbb

bbb

108 œœ œ œn œn œ œn œb œ œb œ3

3

3

œb œ Œ jœœŒ3

œ œ œ Œ Ó3

‰ œœn Œ jœœ ‰ œ œ3 3

3

C 7

&?

bbb

bbb

Œ œœ ..œœb œœ œœœœ œœ jœœœ ‰ . rœœ œœ

3

‰ Jœ

Fmin7

F œœ œœœ jœœœ œœjœœ œœ œœ

‰ jœœ œœ jœœ ..œœ Œ.œ ‰ ˙

..œœ jœœ œœ œœnœ ..˙̇

Cmin7

&?

bbb

bbb

113 ....˙̇̇̇n œ œ œ œ œœb3

Œ ‰ œ œn œ œn œn œ œœ œœ ...

œœœ œœœ ˙̇̇ .œ œ

F 9 ..œœ œ œ œ œ œb ...œœœ jœœœ3œœœbb ˙̇

.œ œ œ

Fmin7 Abmin7 Bb7

P

9I'll Be Seeing You

A more extensive use of descending triads occurs in his improvisation on “Here’s That Rainy

Day.” In this example, Hill begins with planing major triads down half steps (bracketed), then

adjusts the intervalic structure to create a more varied planing.


&?

#

#

œn œ œ# œ œ œ œn œb œ œ œb œ œ#3 5

œœ œ

œœœnb

Gmin A 7 œ œb œ œn œ œ œ œn œ œ œ# œn œb œ3 3

Œ œ œb œ

Bmin7 Bb7 Amin7

œ œ œ œ œ œ œ œb œ Œ ! œb œœbn5

œœ œœb

œœœbb

Amin7 Ab7

&?

#

#

65 Œ ‰ Jœœœœ œœœœn œœœœ

œœœœœœœœ œœœbn œœ

G Gmin7

Fœœœœn œœœœbbb œœœœ œœœœœœbb œœb

œb Œ

Fmin7 Bb7

Ó œ œb œ œ ! œn œb œ

œb œœb œb œœnb

Ebœb œ œb œn œb œ œ ‰ œ œb œ œ œ œ#œb œ œb jœ .œ

&?

#

#

69

œ Œ Œ œ œn œ#3

.œ œ Œ œœœb#b œ

Amin7

œ .œ œ .œb ‰ œ œ œ3

œœœœœ Œ œ

Amin7 D 7

&?

#

#

œœœ œœœb œœœbn œœœ œœœbb œœœ##3

3

Ó œ œn œb3

...œœœn jœœœ œœœ œœœb œœœb

.œ jœ œ œb

Dmin7 G 7

fœœœ Œ Œ ‰ jœ

œ œ ˙̇

Cmin7

&?

#

#

74

˙˙#> Œ œ# œ œ œb

˙#œœ ..˙˙#

F 7

œ œb œ œ# œ ‰ œœb - œœb œœn#œb œb œ œn

Bbœœn ‰ œ œ# œb œ œ œb ! œ- œb ^3

Œ œ œb œœ#b


In the next example, stacked fourths are planed up by half-step.


&?

bb

bb

c

c

œœ. œœ. œœ. œœbb .

‰ œœjœœ

jœœ œœjœœ

œœ. œœ. œœb . œœ- œœœ>˙̇ Œ ‰ Jœœ

&?

bb

bb

65 ...œœœ jœœœb œœb œœ ‰ œœ..œœ Jœœb œœbb œœ ‰ œœ

‰ œœb jœœ jœœ ..œœb‰ œœb Jœœ Jœœ œœb jœ

&?

bb

bb

‰ œœ jœœ## ..œœ jœœ‰ œœ Jœœb ..œœ Jœœ

jœœ ..œœ ‰ œœ jœœb

Jœœ ..œœnn ‰ œœ Jœœ˙̇ œœb œœnn˙̇ œœ œœn#

œœ œœn# œœœ œœœ###œœ œœbb œn œ#

&?

bb

bb

71 œœœn œœœ œœœ ‰ œœbb ‰ œœœbœn œ œb ‰ œœb ‰ œn

6 Ode to Von

44

In Example 2.36, Hill uses parallel tenths, though the intervals are too varied to classify the

figure as either diatonic or chromatic planing.


&?

bbbbbb

26

wwwwwnn

A ø7


!

Abmaj7



œ ‰ jœ œ Œ

C min7 Bbmin7

&?

bbbbbb

30

œ œb œ œ Ó3

!


...œœœ Ó

C min/Bb

&?

bbbbbb

‰ œ œ œb œœœn

œ Œ3

œœ#nœœ

œœ3

G 7Ab

Jœœn#


œœœœ œœn#

3 3 3

C min7 C min/Bbœœ

œœn

œœ

n œœ#

œœ


Jœ ‰ Œ

Eb7

&?

bbbbbb

35 œ œ œn œ# œ œn œn œ œœœn ‰ J

œœœn Œ œœœœ

F 7 G 7 œœn œn œœb œ œœ Œ‰ Jœœœn Œ Œ ‰ Jœ

C min7

&?

bbbbbb

37 œ œœ œ œœb œ œœ œb œœÓ ‰ œ ‰ œ

Bbmin7 Eb7


Œ ‰ Jœ# Ó

F 7

3Yellow Violet

During the bass solo on “Ode to Von,” Hill “comps” using the “So What” voicings.127

Example 2.37: “So What” Voicing in D minor

&?

œœœ œœœœœ œœ!!

!!

&?

4 !!

!!

!!

&?

7 !!

!!

!!

&?

10 !!

!!

!!

[Title][Composer]

Score

[Arranger][Subtitle]

Hill, however, does not plane this voicing diatonically, as in the example above, but

chromatically. The first voicing could be analyzed as a G suspended, from which he deviates

through the use of upper chromatic neighbor tones. This is similar to the improvisational method

“side-slipping,” in which an improviser briefly moves away from a tonality to an adjacent

tonality, in this case a half-step above.

45

127 Chords used by Bill Evans on Miles Davisʼ Kind of Blue.


&?

bb

bb

72 œœœ œœœ œœœ œœn ‰ œœœ ‰ œœœbbœ œb œb œœ ‰ œ ‰ œ

‰ œœœ ‰ œœœb ˙˙jœ .œ

‰ œ ‰ œ ˙!

....œœœœ Jœœœœ Œ œœœœ

G min7

!wwwwwbF min7

bass solo[1:52 - 2:19]

&?

bb

bb

‰ œœœ. œœœbb .jœœœ œœœ

jœœœ ‰ œœœ.3 3 3 3

‰ œ. œb . Jœ œ œ œ ‰ œ.3 3 3 3

www˙

‰ œœœ. œœœbb .jœœœ Œ jœœœ ‰ œœœ.

3 3 3 3

‰ œ. œb . Jœ Œ Jœ ‰ œ.3 3 3 3

...˙̇̇jœ œ œ

.˙ jœ œ œ

&?

bb

bb

80 3

3!

....œœœœ Jœœœœ ‰ ....œœœœ

>

G min7 !˙̇̇̇

Jœœœœ œn Jœ

G 7

&?

bb

bb

85 !...œœœb J

œœ ‰ œœœn Jœ

F min7

7Ode to Von

! Tone clusters - two or more adjacent notes played simultaneously - are another way in

which Hill stretches conventional boundaries of linear, hard bop improvisation. Though tone

clusters are defined in the Harvard Dictionary of Music as “...strongly dissonant group[s] of

tones lying close together,” in the context of Hill’s improvisations, these tone clusters may

consist of diatonically related pitches in a manner similar to impressionistic piano techniques.128

This may be traced back to his encounters with Paul Hindemith and European concert music, of

which Hill described the idea of conveying “...G7 with F, G, A, and B together - cluster tones.” 129

The following examples show a use of tone clusters in his improvisation on “Georgia Ham,” a

whole-step placed at the top of this four-note structure.


&?

...˙̇̇ œœœ ÓŒ ‰ .œ#

Ó . ‰ jœœœœ œœœœ ‰ œœœœ ‰ jœœœœ˙ w

‰ œœœœ œœœœjœœœœ ‰ œœœœ œœœœ

jœœœœÓ . Ó ‰ jœ

‰ œœœœjœœœœ Œ Œ ‰ jœœœœ œœœœ

!

&?

œœœœ ‰ œœœœ ‰ œœœœ Œ œœœœÓ . œ Ó

‰ jœœœœ œœœœ œœœœ œœœœ ‰ œœœœ Œ ‰ jœœœœœ Ó .˙

Œ ˙˙̇̇ œœœœ ˙̇˙˙Œ ‰ .œ .˙

&?

135 ! Œ ‰ jœœœÓ . ‰ jœ ˙.w

9Georgia Ham

46

128 Appel, Willi. (2000). Harvard Dictionary of Music. 2nd ed. Cambridge: Belknap Press of Harvard Press.


In “Malachi,” these elements are more integrated into his linear improvisation.

Example 2.40: “Malachi” (measure 30-33)



! Example 2.43 shows the quintessential “bebop lick” used by Charlie Parker in his solo on

“Confirmation.” Hill expands upon this idea with a minor-third harmonization, shown in

Example 2.44. This may show an influence by Barry Harris, who “showed him some new uses of

Bud [Powell].” 130

47

130 Spellman, A.B. (1964). Original liner notes to Black Fire. Blue Note Records. 7243 5 96501 2 8. 7.

Example 2.43: basic “bebop lick” - Charlie Parker131

& 44 œ œ œb œ œ œ œ œF7

œBb7 ! !

&5 ! ! ! !

&9 ! ! ! !

&13 ! ! ! !

&17 ! ! ! !

&21 ! ! ! !

&25 ! ! ! !

&29 ! ! !

[Title][Composer]

Score

Example 2.44: “Penthouse Party” (measure 70)

&?

bb

66 œ œœ# œ œ œb œ œœb‰ ...œœœb

Jœœœ œœœ J

œœœ


F 7


œœœn

D 7

‰ ..œœ œœ œœb Œ˙̇̇ Œ ‰ Jœœb

G min7

&?

bb

œœb œœn œœbb œœ œ œ œ œ#Œ ‰ Jœœ ‰ œ ‰ œœ

C 7



A min7 D 7


‰ Jœœ Œ Ó

G min7 ...œœœ##jœœœnn œœœ œœœb


A 13(b9)D 13(#9) Gb ±7

&?

bb

74 œœœ œœœn œœœnb œœœbbbœœœ œœbb œœn œœ

Ab13(#9)G 7 #9

C7b9b13

..œœ## jœœ œœ ‰ œ œœ...œœœ#n J

œœœ œœœ Œ

B 9

‰ œ œb œ œ œ œ œ œ œb œ#3

!œœœ ‰ jœœœ Œ œœœœœœb ‰ J

œœœ Œ œœœ

Bb13(#11)

&?

bb

78 jœœœ ‰ œ œb œ œ œ œ œ œ

Jœœœ ‰ œ œb œ œ œ œ œ œ

œœ ‰ jœœb Œ œœœœœ# ‰ J

œœœbbn Œ œœœ#

E 7 # 5# 9

Eb7 # 5# 9

D7#9 œœ œ œ ‰ œb œ œ œ œ œ3

œœœb Œ Ó. .. .. .˙̇̇bb

jœœœnnn‰ ..œœ ‰ ..œœ

Gb/C

&?

bb

82 ‰ jœœœn œb œn œb œb œ œb œ œ œ œn œœ‰ ..œœ ‰ ..œœ

œœ œœb œ œb œ œ œ jœn œœ œœb‰ ..œœ ‰ ..œœ

œœb œ œ œ œb œ œ œ3 3

!

5Penthouse Party

break

In “Ode to Von,” Hill uses stacked fourths on several occasions. Here, the fourths are an

extension of a typical enclosure (bracketed).


&?

bb

bb43

43

c

c



Eb7



&?

bb

bb

c

c


‰ œœjœœ

jœœ œœjœœ

œœ. œœ. œœb . œœ- œœœ>˙̇ Œ ‰ Jœœ

&?

bb

bb

65 ...œœœ jœœœb œœb œœ ‰ œœ..œœ Jœœb œœbb œœ ‰ œœ


&?

bb

bb


jœœ ..œœ ‰ œœ jœœb



6 Ode to Von

To end “Here’s That Rainy Day,” Hill uses ascending fourths. Though the texture obscures the

harmony, each note is derived from G Lydian and the final melodic resolution heard is the

dominant to tonic movement in the left hand.


&?

#

#~~~~~Gliss. ~~~~~Gliss. ~~~~~Gliss.~~~~~Gliss.~~~~~

~Gliss.œœœœb œœœœnn

˙̇̇̇bb

œœbb œœœœnbœœbb

œb

Fmin7 Bb7

ten.

Ó œœœœb œœœœ ..œœ

jœb˙̇ œb œœnb

Eb Fmin7 œœœœbb œœœœb ! œ œb œ œ œ# œ œ œ5

jœ œœbœb œœb œœb#

Eb Bbo7

f

&?

#

#

œn œ# œn œb Œ Œ ! ..Jœœ

œœœœœ œœbb

œœœn

Amin7 Ab7

Pjœ

..œœ Jœ œœœœ œœœœbb

œœœœ

jœœœ

œœœœnb

Amin7 D 7ten. ten. ˙̇̇ œœœ ! œ œ# œn

œœœœœœ œœ œœb

G Emin11 Ebo7

F

&?

#

#Œ œ œ œ œn œ ‰ œœ œ

3

œœn œœ œœ œœ

Dmin7 G 7

Œ ‰ œ œ œœ œ œœb œ

Œ œ œœ œœœ œœœœ œœœœ œœœ œœœbb

C Bmin11 Bb7

Fœœ œ œœœœ œœœ˙̇̇ œœ œœ

Amin7 D 7 C 7ten.

&?

#

#˙̇̇ jœœœœ#b

˙˙̇# ...œœœ jœ

Bmin

www œ œ œ œ œ œ œ œ œ‰ Jœ

œ œ œ œww

Emin11

˙̇ ˙˙#nœ ˙ œ˙̇ ˙̇#

Amin11 G#o7

œœ Œ ˙˙˙bœ œ œ œb

˙̇ œb > œn œ# œ˙

Amin D 7ten.

&?

#

#Œ œ œœ œœœ ˙̇̇

3

œ ..œœ ..˙̇

G

p œ œœ œœœ# jœœœœ œœœœœ˙̇̇̇

˙˙3 3

w

˙̇̇̇˙˙ Ó

˙Ó

G maj7(#11)


48

131 Abersold, J. and Sloan, K. (1978). Charlie Parker Omnibook. Michael H. Goldsen, Atlantic Music Corp. 2.

The following example illustrates a way in which Hill uses enclosures outside the confines of

conventional bebop practices. Enclosures (bracketed) are created with the top note of a series of

dyads.


&?

bbbbbb

cc

Œ jœœœ Œ Œ jœœœ Œ3 3

œ ‰ jœ œ ‰ jœ

Swing q»approx. ¡™¢end of trumpet solo[1:49]

Œ ‰ jœ œ ‰ jœœ Œ Ó

C min7

œ œ œ œ# œœ œn œœ œœÓ Œ œ œ

C min/Bb

&?

bbbbbb

4 œœ œœn œœbb ‰ œœ jœœ3œ œ Œ ‰ .œ3

Ab G 7 œœnn Œ œœb œœ œœ ‰ œœ œœ#n3

Œ œ Œ ‰ .œ3

C min7C min/Bb

&?

bbbbbb

œœ œœb œœnn œœ œœnn œœ œœ#.œ œ .œ œ# .œ œ œ

Eb7 œœ œœœb œœ# œœn œœ œœ#.œ œ œ Jœ œn Jœ

F 7 G 7 œœ œœ œœ œœ œ œ œ# œ3

Jœ œn ‰ Œ œœb œœ œœ3

C min7

&?

bbbbbb

9 œ# ‰ Jœn œ œ œ# œœœb ‰ J

œœœ œœœ œœœ Œ

Bbmin7

1st chorus

The next example shows another use of enclosures (bracketed) that move beyond single-line

improvisation.

Example 2.48: “I’ll Be Seeing You” (measures 68-70)

&?

bbb

bbb

63 œœb œœn œœœ#b œœœ

œ œ jœœ jœn

œnjœ

œ

C 7

œœœ œ œ œ œ œ œ œœ Œ œ œ œn3

3

jœ..œœ œœ œ

Fmin7 Dmin

f pŒ ‰ Jœœ

> œœ œœœ œœœ œœœ‰ J

œœ œœb œœœœœ

G 7

f

&?

bbb

bbb

66 ‰ jœœœ œœœ œœœ œœœjœœœ .....œœœœœn

3

Œ ‰ œ œ jœ .œn3

w

Cmin7

Pwwwn Œ

œn œ œœn œn œ œn œn œ œn œn

10w

F 9

&?

bbb

bbb

Œ œœœ œ œn œ œ# œ3

œœ ‰ jœ# œ ‰ . rœN

Fmin7

œœA œœ œœ ..œœ jœn‰ jœ

Bb7

‰ œœ œœ Œ ! œn œn œ#3

..œœ Jœœœbnn œœœ œœœ

Gmin7 Gbmin7

5I'll Be Seeing You

3rd chorus

! As a means to obscure the harmonic progression and phrasing, Hill creates “motivic

loops” - the repetition, sequence or manipulation of a motive. Example 2.49 shows the use of

brief motivic repetition. The motive is established in the first measure, immediately fragmented

during the second reiteration and then expanded for the third and final repetition.


&?

bb

bb

42 .œ jœœœ ...œœœjœœœ

!

Gmin11 wwwŒ ‰ Jœ .œ Jœ

œn œ œ œ œ œ œn œ œœ œ œ œ3 3 3 3

w

G 7

&?

bb

bb

Ó œ œ œ œn œ œ3 3

...œœœb Jœœœ...œœœ Jœœœ

G 7

œ œ œ œn œ œ œ œb œ œn œb œ3 3 3 3

œœœ Œ ‰ ...œœœb

C min7 Ebmin7

œ œ œb œn œ œœ Ó3 3

Ó Œ ‰ Jœœœœb

&?

bb

bb

‰ œœn œb œ œb œb œ œb œ ‰ ‰ Jœœ5

3

˙̇˙˙ Ó

Eb7 ‰ œb œ œn ‰ Jœœ ‰ œ œ œb œb œœ Jœœb

3 3

!

F 7 œœ œœ ‰ ‰ Jœœ œœ œ œœœ

3

Ó Œ ‰ Jœœœ

&?

bb

bb

51 ...œœœ jœœœœjœœœœ œœœœ

jœœœœ...œœœ Jœ Jœ œ Jœ

C min7 jœœœœ œœœjœœœbb

jœœœ œœœnjœœœn

Jœ œœ Jœœb ..œœ Jœ

wwww

4 Ode to Von

49

The next example shows a more extensive motivic loop, a rising and falling melodic line that

makes use of pitches out of a G blues scale, superimposed over several chords.


&?

bbbbbb

39 œœn œœb œœ Œ œœb3

Ó œ œœ

G 7 C min7 Bbmin7

&?

bbbbbb


A ø7


!


œ

Dbmaj7

&?

bbbbbb " "


‰ JœœœnŒ ˙b


3



Ó # .jœ Œ

C min/Bb

&?

bbbbbb

.œ Jœ œ œ œb œ œn œ œnÓ J


Ab G 7

&?

bbbbbb






œ# œn œ œ œ

F 7 G 7

4 Yellow Violet

laid back

In both of the following examples, motivic loops are comprised of descending four-note

groupings that can be derived from the pentatonic scale.

Example 2.51: “Georgia Ham” (measure 71-73)

&?

..œœ ..œœ# ˙̇ œœœœnJœ ˙

.œ .œ ˙ œ

....˙̇̇̇ jœœ œœ##jœœ Œ

.˙

‰ jœœ Ó ‰ jœœ Œ œœ## œœ

w Ó

&?

69 ‰ jœœ Ó Œ ‰ jœ œ œ œ3

˙Ó wwœ œ œ œ# !Ó . Ó ‰ jœœœ

&?

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3

!œ# œ œ œ œ œ œ œ œ œ œ œ œ œb Œ3 3 3 3

!œ# œ œ œ œ œ œ ‰œ œ œ œ œ œ œ œ œ œ3 3 3 3 3 3

!

&?

74

œ œ# œ œ œ Ó œ3

Ó . œ ˙˙œ ‰ œ# jœ Œ œœ ŒŒ .˙ .œ Jœ

‰ jœ œ œb œ œ# œb œ œ œn œn œ3

œ œ# Œ .˙

Œ œœ œœ œœ# ‰ jœœ Ó3

w Œ œœ#

&?

78 Ó ‰ jœœ Œ œœ#b œœn œbŒ œn

œb œ œ œb œÓ .

!.w#

˙ w.w

..œœ .œ ..œœ ..œœ#

.˙ .˙#

5Georgia Ham


&?

117 Œ ‰ jœ œ œ# œ œ œb œ œ# œ Œ3 3

œœ œœb ˙̇ Ó ‰ Jœœ#‰ œ œ œb œ œœn ‰ œœb Œ ‰œœ ‰ Jœn Œ Ó ‰ Jœ#

‰ œ œ œb Jœ œœ ‰ jœ œ œn œb œ3

Jœ ..œœbn Œ œ Œ ‰ jœœ

&?

.˙ œ œ œ œ œ œ œ œ

..˙̇ ˙ œ

œ œ œ œ œ œ œ œ ˙

œ ˙ œ ˙

..˙̇ jœœ ..œœ œœ!

˙̇ ˙ ˙̇̇

!

&?

...˙̇̇ Œ Œ œœœ œœœ###3

! ˙œœœ œœœ# œœœnbb ˙̇̇# œœœ œ#Ó . ˙

˙̇̇# œ# jœ ...œœœ# œ!

œœœ## ˙̇̇### ˙̇̇Ó . œ# ˙

8 Georgia Ham

50

! Other forms of unconventional non-linear improvisation can be analyzed as

superimposed structures over a given harmony. In Example 2.53, Hill superimposes an F-sharp

minor chord (bracketed) over a B-flat tonality.!


&?

bb

bb

37

œn œ œ œ œb œ œn œ œ œ œb œ œn œ œ œÓ ˙̇˙

œ œ œn œ œ œ œb œ œn œ œ œ œb œ œn œÓ Œ œ

&?

bb

bb

39


Bb7

&?

bb

bbœ# ! œ ! œ ! œ# ! œ ! œ# ! œn ! œ !


Bb7 œ ! œ ! œ ! œA ! œ ! œn ! œ œ


Ab7 .œ jœœœ ...œœœjœœœ

"

Gmin11

&?

bb

bb

43 wwwŒ ‰ Jœ .œ Jœ


w

G 7

3Ode to Von

Hill obscures both the harmony and the rhythm at the end of his improvisation on “Yellow

Violet”. The non-chord tone in measure 50 (E, circled), part of a C major triad, becomes part of

an ascending chromatic scale (circled) that is interrupted by the repetition of the pitches C and D-

flat.


! Developing out of hard bop, Hill employed elements of linear improvisation related to

bebop, such as approach tones, enclosures, linear chromaticism and a blues sensibility. He

expanded beyond the strictures of hard bop through the use of planing, tone clusters, a further

expansion of liner bebop improvisation, motivic loops and superimposed structures.

51

CHAPTER THREERhythm and Pulse in the Improvised Solos of Andrew Hill

! Possibly the most intriguing and individual aspect of Hill’s style is his rhythmic sense. In

this section, I will focus on Andrew Hill’s rhythmic devices and relationship to the pulse during

his improvised solos. I will first detail rhythmic concepts that relate to hard bop, such as swing,

laying back, syncopation and hemiola. I will then discuss methods with which Hill obscures the

pulse with polyrhythm, a sense of rubato due to an “abstracted pulse” and rhythmic variation.

The steady pulse and laid-back swing style show a connection to hard bop, while a creative

approach to his music led to the abstraction of the pulse by his ensemble members. In this

context, rhythm section members often only imply the pulse, rather than overtly stating it in a

conventional manner. Later recordings continue this trend toward the loosening of the pulse

through the use of “energy-rhythm,” in which momentum is created through “tiny deviations

from the beat and by the superimposition of even and uneven rhythms.” 132

Pulse, Swing and Laying Back

! The majority of Hill’s output maintains a steady pulse throughout the performances,

though this pulse may be only implied or highly abstracted. On So in Love, each selection is

performed with a steady pulse, often in a hard-driving swing style. Most tunes on this album

incorporate vamp sections, rather than maintaining a constant form throughout. As is evident

from his improvisation over “Penthouse Party,” Hill’s rhythm is aligned with the rest of the

ensemble, though he often phrases behind the beat, in a “laid-back” manner. In the following

example, a two-note motive (an ascending sixth interval) is sequenced down diatonically. This

52


phrase begins as a sixteenth-note followed by a dotted-eighth, which then shifts to quarter-note

triplets.


&?

bb

bb

17

˙ œ œ œ œ3

wwww

F min7

˙ .œ jœ˙̇ ..œœn

Jœœœœb



. .˙ Jœœ

&?

bb

bb


.œ jœb ˙w



Eb7


œb

D7alt Db7


&?

bb

bb

25 www#Œ ‰ J


G min7



F min7

˙ œ œ‰ .œ Ó

Gsus G 7

&?

bb

bb

29


C min7


Ebmin7

&?

bb

bb


Œ ‰ Jœœb ˙̇

Eb7



3 3

!

D7alt


Db7

2 Ode to Von

Syncopation

! As is common to jazz, which developed out of swing and bebop, Hill explored several

methods of obscuring the pulse, meter and phrasing. One method is the use of syncopation,

defined as “...any deliberate disturbance of the normal pulse of meter, accent, and rhythm.” 133

The following example from “Penthouse Party,” shows one such instance of an emphasis on

beats two and four in the left hand. This phrase is the first chorus of Hill’s improvisation over the

blues form. The dominant pedal point (C) in the left hand is a continuation of the pedal point that

occurs at the ends of the melody.

53



&?

bb

21 . .. .. .˙̇̇bbjœœœnnn

‰ ..œœ ‰ ..œœ



‰ ..œœ ‰ ..œœ

F 7/C

&?

bb



‰ ..œœ ‰ ..œœ

F 7/C


‰ ..œœ ‰ ..œœ


&?

bb


‰ ..œœ ‰ ..œœ


Bb7/C


‰ ..œœ ‰ ..œœ


F 7/C

&?

bb

32 ‰ œœ̂jœœbb -


‰ ..œœ ‰ ..œœ

œœ œ œ œ œ œ œœ œœnb‰ ..œœ ‰ ..œœ

G-7/C œœ œ œ œ œ œ œ œb œ œ3

‰ ..œœ ‰ ..œœ

C 7


F 7/C

&?

bb

36 Œ œ œ œ œ œ œ œ3 3

‰ .œ Ó˙̇ œ œ œ œ œœ3

jœ# ˙̇̇b Œ ‰ Jœœœ

F 7

Œ œ œ œ œ œ ‰ œ œ3 3

Ó Œ œœœb œœœœ œ œ œ œ œ Œ3

œœœ Œ ‰ œœœb ‰

2 Penthouse Party

2nd chorus

Syncopation can describe the accentuation of beats two and four, as in the previous example, or

the emphasis of the up-beats, as in the next three examples.

54


&?

bb

bb

œœœ ‰ œœ œ œœ œ œœ œ œœ œ3 3 3



3 3 3



œœœœ ‰3 3 3 3

&?

bb

bb


œœœœ3 3

Bb7 Jœ œ œ œ œ .œ œn œb œ3 3 3


&?

bb

bb


Œ .˙

..œœ Jœ Jœ .œ


F min7

&?

bb

bb43

43

c

c



Eb7



5Ode to Von


&?

bbbbbb

26

wwwwwnn

A ø7


!

Abmaj7



œ ‰ jœ œ Œ

C min7 Bbmin7

&?

bbbbbb

30

œ œb œ œ Ó3

!


...œœœ Ó

C min/Bb

&?

bbbbbb

‰ œ œ œb œœœn

œ Œ3

œœ#nœœ

œœ3

G 7Ab

Jœœn#


œœœœ œœn#

3 3 3

C min7 C min/Bbœœ

œœn

œœ

n œœ#

œœ


Jœ ‰ Œ

Eb7

&?

bbbbbb

35 œ œ œn œ# œ œn œn œ œœœn ‰ J

œœœn Œ œœœœ

F 7 G 7

&?

bbbbbb

œœn œn œœb œ œœ Œ‰ Jœœœn Œ Œ ‰ Jœ

C min7


Bbmin7 Eb7


Œ ‰ Jœ# Ó

F 7

3Yellow Violet

55


&?

29

jœœœ ...œœœ œœœ ˙̇̇ œœ Jœ

˙ œ ˙ œ

jœœœ ...œœœ www..ww

www ..œœ jœw ˙

&?

32

œ ..œœ Jœ# .œ Jœ Œ

œ .œ# jœ .œjœ Jœœ# œ

! ‰ jœœ# ŒŒ ˙ Œ œ œ# ‰ Jœ

œœ# œœ ‰ œœ jœœb Ó .œ# œ ‰ œ Jœ Œ œœbb œœnn

jœœ# œb œ jœœ#n ..œœ .œ‰ . rœœbb Œ Ó

&?

œœ# œœ œœ œœjœœ œœ

jœœ œœjœœ

3 3

‰ œœbb ‰ œœbb Ó .jœœ œœ# œœ

jœœnjœœ œœ# œœ

jœœŒ ‰ jœ# Œ ‰ Jœ Œ ‰ jœ

jœœ œœ# œœjœœ œœ œ œ œ

Œ ‰ Jœ Œ ‰ jœ# ˙

Ó . ‰ jœœ œœ œœÓ . œœ Ó

&?

40 jœb .œ wJœ .œ œ .˙

˙̇# ww..ww

...www#...˙̇˙#

....wwww#

..˙̇ jœœ ...œœœ# œœœ

&?

44 ....˙̇̇̇ œ# Ó˙̇̇ ‰ jœœ Ó ‰ jœœ

œ# œ jœ œ jœ Ó .

.œ ..œœ jœœ ..œœ œœ

Ó œœ œœ œœ œœ Œ3

œœ ˙̇ Ó .Ó . ‰ ..œœ œœ‰ jœœ ˙̇ ..˙̇

3Georgia Ham

Hemiola

! A rhythmic hemiola is a form of polyrhythm in which accentuation and subdivision work

against a steady meter, particularly the emphasis of three (eighth-notes or quarter-notes) in a

duple meter (3:2 ratio).134 In the following example from “Yellow Violet,” Hill performs a

hemiola with his left hand (bracketed), while his right hand continues a melodic phrase.


&?

bbbbbb

33

Jœœn#


œœœœ œœn#

3 33

C min7 C min/Bbœœ

œœn

œœ

n œœ#

œœ


Jœ ‰ Œ

Eb7

&?

bbbbbb

œ œ œn œ# œ œn œn œ œœœn ‰ J

œœœn Œ œœœœ


C min7


Bbmin7Eb7

&?

bbbbbb


Œ ‰ Jœ# Ó

F 7


Ó œ œœ

G 7 C min7 Bbmin7

&?

bbbbbb


A ø7


!


œ

Dbmaj7

&?

bbbbbb

" " "


‰ JœœœnŒ ˙b


3



Ó # .jœ Œ

C min/Bb

4 Yellow Violet

laid back

The next example shows a hemiola that occurs in the middle of his improvisation, though the

hemiola is not adhered to strictly.

56

134 Ibid.


&?

..ww#

.wœœ# Ó ‰ jœœ œœ Œ

!œœ## Ó ‰ jœœ œœ>

Œ!

œœœ### .jœœœ- œœœ.

jœœœ‰ œœœ.

œœœ.jœœœ

!

&?

‰ œœœ### .jœœœ œœœ œœœ œœœ œœœ

‰ jœœœŒ3

œb Ó Œ ‰ jœ ŒÓ œœ## œœ

‰ œœ œœ jœœœ# Œ ‰ jœ ‰ œb œb ‰

Œ œœ## œœ œœ‰ œœ œœ

jœœ!

‰ œœ## jœœ ww!

&?

‰ jœœ##Œ œœ

‰ jœœŒ œœ

jœ ‰ Ó Œ ‰ jœ ŒŒ œœ##

‰ jœœŒ ‰ jœœ

ŒÓ œ Œ ‰ œ jœb

‰ jœœ##Œ œœ

Œ ‰ jœœŒ

Ó Œ ‰ jœ

Œ œ œb œ œb œ œ œb œ œ œ œ3 3

.œ jœ# !

&?

œ œ œ# œ œb œ œ œb œ œb œb œb œ3

w# Ó!!

..œœ .œ ..œœ# ..œœ##

.˙ .˙#

œœ œœ ˙̇ ..˙̇

œ œ ˙ ˙ œ œ

6 Georgia Ham

Expanded Rhythmic Concepts: Polyrhythm, Rubato and Rhythmic Obscurity

! Bebop piano technique consists of a mostly homophonic texture in which right hand

linear improvisation is accompanied by sparse left hand “comping.” This style developed due to

the ensemble nature of bebop, in piano bass-notes are omitted by the pianist so as to avoid

conflict with the acoustic bass. Due to advancements in recording technology and Hill’s effort to

create balanced recordings with performances that expanded beyond conventional instrument

roles, the piano voice became more prominent as Hill’s career progressed.

! I’ve made it my project to figure out how to record the piano. The key is not to approach ! it as an accompanying instrument. Instead of instruments accompanying each other, have ! equal volume on all, so they can stand on their own. Otherwise it throws off the quality of ! the performance.135

This facilitated a less homophonic approach, making use of the entire instrument melodically.

One method for obscuring the pulse, shown in the following examples, is the use of polyrhythms,

which Hill creates through somewhat incongruous rhythms and an active left hand. Polyrhythms

are created both between Hill and the rest of the ensemble and between Hill’s hands, as in the

following examples.

57



&?

bbbbbb

cc





C min7


C min/Bb

&?

bbbbbb

œœ œœn œœbb ‰ œœ jœœ3œ œ Œ ‰ .œ3


Œ œ Œ ‰ .œ3

C min7C min/Bb

&?

bbbbbb


Eb7 œœ œœœb œœ# œœn œœ œœ#.œ œ œ Jœ œn Jœ



C min7

&?

bbbbbb

9 œ# ‰ Jœn œ œ œ# œœœb ‰ J


Bbmin7

1st chorus


&?

bbbbbb

œ œ Œ jœ œ œn ! œ ! œ. œ#3 3

œ# œ Jœb Jœ .œn3

C min7 ‰ œ œb œ# ! œ œ œ œ œ œJœ œ Jœn œ œ .œ

Bbmin7

œn .œ Œ ‰ Jœ ‰ jœ# jœnœ# œ Œ Ó

3

Eb7

œn Œ ...œœœ jœœœbœ Œ .œ jœ

G 7 C min7 C min/Bb

&?

bbbbbb

54 jœœœ ...œœœœœ œ œ œ

jœ ...œœœnn Jœœœ ‰ Œ

A ø7

Jœ œ Jœœ ‰ Jœ# œ œ œ

3

"

Abmaj7

&?

bbbbbb

56 œ œ# œ œœ œœ œ œ œ œ3Ó ˙̇̇b

Dbmaj7 œ œœ ‰ œœœ Œ ‰ jœœœbŒ

œ‰ jœ œ

C min7 Bbmin7 "‰ jœœbb ˙̇ Œ

5Yellow Violet

58


&?

bbb

bbb

101 œœ œœ œœ œœ œœ

œn

œœœ

n

œ

33 œ œ

Œ ‰ ! rœ œ œ œœn Ó3

Bb7

wŒ œœœœ

œœœœAAn œœœœœ

3

Cmin7

&?

bbb

bbb

103

œ œn œn œb œ œ œ œn œn œb œ œ œ œn œn œb œ œ œ œ œn3

œ Œ œœœn

F 13 Fmin7

&?

bbb

bbb

œœœœ ‰ œœœ ! jœ !3

œœ œœœ œœœ ‰ œ

Bbsus

œœœbb œœœn œœœb œœœ œœn œœb3


G o7 Gbmin7



Fmin7

&?

bbb

bbbœœn œœ œœb œœ œœ> œœ>

3

Œ ‰ . rœ œ .œ œ ˙3

Bb7

fœœ œ œn œn œ œn œb œ œb œ

3

3

3

œb œ Œ jœœŒ3

œ œ œ Œ Ó3


3

C 7

&?

bbb

bbb


3

‰ Jœ

Fmin7

F œœ œœœ jœœœ œœjœœ œœ œœ



Cmin7

7I'll Be Seeing You

What is striking about Hill’s improvisations on “Georgia Ham” and “Malachi” is how few

occurrences there are of typical left-hand chords (bracketed) that accompany linear

improvisation, occurring only once during his improvisation on “Georgia Ham.”

59

Example 3.11: “Georgia Ham” (measure 60-62)

&?

48

..œœ ..œœ œœ# ..œœ jœœ˙̇ w#

œœ œœ œœ# œœ œœ Œ ‰ jœ ..œœ3

‰ jœœ ‰ jœœ ..˙̇..ww

˙̇ œ# .˙Œ œ œ œ# Œ œ œ Œ

...˙̇̇ œJœ ˙

&?

52 œ œ œ# œ œ œ œ œ œ œ œ œŒ ‰ .œ Ó ‰ jœww

.˙ Œ ‰ jœ# œ œb

.œ .œ œ ˙œ œœ# œ œn œ# ‰ Jœb œn œ œ#

Œ ‰ Jœ w‰ œ# Jœb œ œ œ# œ œ œ

3

Jœ œœ ‰ !

&?

56 Ó . œ œ œ œ œ œ œ3 3

Ó ‰ Jœœ ..˙̇Ó . œœ œ# œ œ ŒÓ . œ.˙

Œ œ œ œ œ# œ œ œ3

Œ ˙# Œ jœ .œ.˙

..wwŒ ‰ .œ ˙ œ œ

&?

Œ œ œ œb œ œ ‰ jœ œ œ œ œ#Jœ .œ œ œ ˙ Œ

œ œ œ# œ œ# œ œ œ .œb œb œ œbÓ ‰ Jœœœb ...˙̇˙

‰ jœ# œ œbÓ œb œ œb œ œ œn œb œ

&?

63 ‰ œœ# ‰ Œ œœ# Œ ‰ jœœww# Œ œ#

œ ‰ jœœ# Œ œœ ‰ œœjœœ

wŒ ˙ Ó .

Œ œœ# Œ Œ ‰ ..œœŒ œ Œ Œ ‰ .œ

4 Georgia Ham

Instead, Hill uses the piano more homogeneously, exemplified by his last album, Time Lines.

Most often on this album, the sonic quality is more reminiscent of a “romantic” composition than

a standard jazz performance. In the following example, tenuto, grace notes and shifting meter are

used to indicate a highly rubato pulse, which is maintained throughout the performance.


&?



3

P pŒ ‰ œ œ œ

3

.˙

œœ œœ œœœœ

...˙̇˙ œœF

&?

œ œ œ œ .œ œ Jœ .œ3




&?

œœ ˙̇œœ ˙̇



‰ œ œ œœ œ ‰ jœ ‰

.œ Jœf

&?

39 ! rœ .jœ ˙Œ ˙



&?

"42

œ œ œ œ œ ˙3

! œ œ .œ œ#

Pœ œ œ ˙̇3

œ œ ˙#




w œ

3Malachiten. ten.

ten.

ten.

! Often times in the course of a performance, Hill creates rhythmic tension through a

deviation from an otherwise steady pulse - what may be described as rubato. Rubato is defined as

“an elastic, flexible tempo involving slight accelerandos and ritardandos...”.136 As Howard

Reich pointed out:

! Hill played with utter rhythmic freedom whenever his hands touched the keyboard, yet he ! managed to [arrive] at key pitches and other structural turning points precisely when his ! colleagues did.137

60


137 Reich, Howard. “Innovative Andrew Hill Playing Tricks with Time.” Accessed March 27, 2011. http://www.andrewhilljazz.com/press/showcase-2.html.

This can be associated with the act of “laying back,” present in all of Hill’s improvising, but is

taken a step further when Hill pushes ahead of the beat “virtually ignor[ing] the meter his

sidemen have established.” 138 A sort of rubato occurs in the following excerpt from “Yellow

Violet” due to a lack of accents and the blurring of individual notes due to sustained pitches.


&?

bbbbbb

10 œ Œ Óœœœn Œ Ó

Eb7 F 7 Ó ! œ œb œ œb œ œ œbÓ Jœœœ ‰ Œ


œœœn Œ

A ø7

&?

bbbbbb

13 œ œ œ œ œ ‰ œ œ"

Abmaj7

œ œ œ ˙b3

"

Dbmaj7 "‰ jœœœ Œ ‰ œœœb ‰ œœœœ ‰ Jœ œ ‰ Jœ

C min7 Bbmin7

&?

bbbbbb

Ó œ œ œ œ œœ ..œœ œœ3‰ jœ œœ œœœ œœœœ


C min7 Ó ‰ œ œ œ œ œ œ ..œœ œœ6

"

C-7/Bb œœ œ œ Œ œ Œ"

Ab G 7

&?

bbbbbb

19 ! .Jœ œ# œ œ œ œ œnœœœœ Œ Ó


"

Eb7

œn œœœ œ œn œœ œ"

F 7 G 7

&?

bbbbbb




Óœœœb

#œn

œœ

3

Bbmin7

Eb7

Ó Œ ‰ Jœ"



2 Yellow Violetlaid back

laid back

2nd chorus

Hill used rubato more overtly in “I’ll Be Seeing You” (1998) than in “Here’s That Rainy

Day” (1975). The following example shows the use of grace notes and tenuto, creating a sense of

rubato.

61

138 Ibid.


&?

#

#~~~~

~Gliss. ~~~~~Gliss. ~~~~~Gliss. ~~~~~Gliss.~~~~~Gliss.~~~~~

~Gliss.

Ó ....œœœœb Jœ

œœ œœœœ œœœœbn œœœ

G Gmin7

Fœœœœb œœœœnn

˙̇̇̇bb


œb

Fmin7 Bb7

ten.


jœb˙̇ œb œœnb



Eb Bbo7

f

&?

#

#

œn œ# œn œb Œ Œ ! ..Jœœ

œœœœœ œœbb

œœœn

Amin7 Ab7

Pjœ


œœœœ

jœœœ

œœœœnb



G Emin11 Ebo7

F

&?

#

#Œ œ œ œ œn œ ‰ œœ œ

3


Dmin7 G 7



C Bmin11 Bb7


Amin7 D 7 C 7ten.

&?

#

#˙̇̇ jœœœœ#b

˙˙̇# ...œœœ jœ

Bmin


œ œ œ œww

Emin11

˙̇ ˙˙#nœ ˙ œ˙̇ ˙̇#

Amin11 G#o7


˙̇ œb > œn œ# œ˙

Amin D 7ten.

&?

#

#Œ œ œœ œœœ ˙̇̇

3

œ ..œœ ..˙̇

G


˙˙3 3

w

˙̇̇̇˙˙ Ó

˙Ó

G maj7(#11)


62

What is more intriguing is Hill’s use of rubato in ensemble settings, a method most prevalent on

his last four albums: Dusk, A Beautiful Day, The Day the World Stood Still and Time Lines.

“Malachi” maintains a loose, abstract pulse throughout. The following example, at the end of his

piano solo, shows a motive that appears many times during Hill’s last five years of recording.

These repeated chords (bracketed) are played with a highly rubato pulse, ample use of the sustain

pedal and varied dynamics and accents.


&?

! !46 Ó Œ jœ Jœ œ

3œ jœ œœ ˙̇̇3

Jœ



œ œ œ jœ œ3

..˙̇ œ œ

Œ œœœœœœœœœœ œ œ

œœ œ

œ œ œ œ œ

"

&?

‰ œ œœ œœ œœ œœ œœ œœ3

3

‰ œ .˙3

pœ œ œ jœ œ ˙

3

œ ˙3Œ œ œ œ jœ œ œ3

wf

œ œ jœ ‰ ‰ œ œ œ œœ3

Œ ‰ Jœ œ ˙#

&?

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

œ œ œ .˙œœœ œœœ œœœ œœœ Jœœœ ...œœœ

œ œ œ .˙

&?

55

˙ ˙̇"

˙ ˙Jœ ww

"œœ œœ œœ œœ œœ œœ œœ œ œœœ œ œ œ œ

"pœœ œœ œœ œœ jœœ œ

3

"

4 Malachi

ten.

! The follow example shows the obscuring of the pulse through displaced triplets and

varied accents.

63


&?

bb

bb

85 !...œœœb J


F min7

&?

bb

bb

!Œ œ ¿ œ ¿ œb ¿ œn jœb3 6

‰ .œ

G 7

œ jœ ¿ œn ¿ œ ¿ œ# j¿ œ6 6


Cmin11Ebmin7

&?

bb

bbœ# ¿ œ ¿ œ ¿n œn ¿ œ ¿ œ# ¿b6 6



œœœb œœœ

Eb7

&?

bb

bb




Ab7


Ó Œ ‰ Jœœœ

8 Ode to Von

ConsequentIn the next example, Hill’s phrasing seems to float on top of the underlying pulse. This is

enhanced by the use of smooth articulations that do not conform to typical jazz accentuation.


&?

bbbbbb


Ó œ œœ

G 7 C min7 Bbmin7

&?

bbbbbb


A ø7


!


œ

Dbmaj7

&?

bbbbbb " "


‰ JœœœnŒ ˙b


3



Ó # .jœ Œ

C min/Bb

&?

bbbbbb

.œ Jœ œ œ œb œ œn œ œnÓ J


Ab G 7

&?

bbbbbb






œ# œn œ œ œ

F 7 G 7

4 Yellow Violet

laid back

64

In his improvisation over “Georgia Ham,” he obscures arrival points by anticipating or delaying

the downbeat of a phrase, shown in the following examples. Double bars indicate phrases

delineated by the ensemble, particularly the drummer.


&?


.œ .œ ˙ œ

....˙̇̇̇ jœœ œœ##jœœ Œ

.˙


w Ó

&?

69 ‰ jœœ Ó Œ ‰ jœ œ œ œ3


&?




!

&?

74




œ œ# Œ .˙


w Œ œœ#

&?



!.w#

˙ w.w

..œœ .œ ..œœ ..œœ#

.˙ .˙#

5Georgia Ham


&?

82 ..ww#.w

œœ# Ó ‰ jœœ œœ Œ!

œœ## Ó ‰ jœœ œœ>Œ

!œœœ### .

jœœœ- œœœ.jœœœ

‰ œœœ.œœœ.

jœœœ!

&?

86 ‰ œœœ### .jœœœ œœœ œœœ œœœ œœœ

‰ jœœœŒ3




jœœ!


&?

‰ jœœ##Œ œœ

‰ jœœŒ œœ




‰ jœœ##Œ œœ

Œ ‰ jœœŒ

Ó Œ ‰ jœ


.œ jœ# !

&?


w# Ó!!

..œœ .œ ..œœ# ..œœ##

.˙ .˙#

œœ œœ ˙̇ ..˙̇

œ œ ˙ ˙ œ œ

&?

98 ! ‰ œœ jœœ#.˙ jœ ..œœ œœ

œœ œœ ˙̇ ˙̇ œœ œœ! Œ œ

œœ œœ œœ œœ œœ# jœœ ..œœ œœ œœ˙

˙̇ œœ œœ ..˙̇!

6 Georgia Ham

! Hill’s improvisational style evolved in part because of his development as a solo

performer. In this setting, he was able to explore rubato, used in conjunction with a homogenous

style reminiscent of a classical technique. Hill juxtaposes this homogeneous approach with a

pulsed, stride-piano pattern. Points of improvisation that contain a homogeneous texture most

often feature prominent use of sustain pedal, tone clusters and what Charles Tolliver described as

“classical voicing.” 139 Figure 3.1 details Hill’s only five solo albums, though he often

incorporates one or more solo pieces on ensemble albums.

65


Figure 3.1: Andrew Hill’s solo recordings

year album

1975(released 2000/2005)

Hommage

1975 Live at Montreux

1978(released 2006)

Mosaic Select 23

1986(released 1987/1988)

Verona Rag

1998 Les Trinitaires

In his solo version of “Here’s That Rainy Day,” Hill establishes a stride rhythm within the first

ten seconds of the improvisation, shown in Example 3.20.

66


&?

#

#44

44‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ5

5

œ œ œ œG

Rubato Ballad q = 70 ten.

fœœœbn œœœn œœœœb œ

œœœœbn ..˙̇n

Bb7ten.

F˙̇̇̇b ..œœb Jœ

˙˙̇̇bnb ˙b

Eb

P

&?

#

#

˙̇˙b jœœn > ..œœbb >˙̇b Jœœ ..œœ

AbŒ ‰ Jœ œ œ œœœbn œœœ

...˙̇̇ œœbb

Amin7 Bb7

ten.

ten. œ œ œœœœb œœœœœœœ œœ

jœœ œœ

Amin7 D7(9) jœ ˙̇ ..œœ jœœœ#b. .. .. .˙̇̇ jœ#

G

&?

#

#œœ Œ Œ ‰ jœœœœbbn

Jœœ .œ .œ jœ

Dmin7 G7ten. .œ

jœb œ œ œ œœœbJœ

œœ œœ œjœ ‰ Œ ‰ ..œœ>

Cmin7 .œb jœ jœ œ Jœœ

œœœ œœn

œ

F7 ..˙̇n ‰ œ œ3

œbœb > œœ#n -

œœn-

Bb C#o7 Dmin7

&?

#

#‰ ...œœœn# œœœ œœœ œ œ œbœœb

œb œœœbb œœ

Eb Bbmin7.œ Jœ .œ Jœ

œœ œœœ œ#œœ.

Amin7 G#7.œ jœ .œ Jœ

œœœ œ jœ ‰ œœœœœb .

Amin7 D7

The stride pulse in “I’ll Be Seeing You” is less defined and is not established until much later in

the performance. Examples 3.21 and 3.22 show two rare instances of a stride pattern, hinted at in

measures 38 to 39 and 55 to 60.

67


&?

bbb

bbb

35 ..˙̇n ‰ œ œ3

Ó œn œ œ œn œ œœ œn œ œ

..˙̇ œœ œœ

F 9

œ œ œœ œ jœ ˙3 3

œ Jœ œ œ3˙̇ ˙̇̇̇bn

Fmin7 Gbo7

&?

bbb

bbb

Œ ‰ œœ œœ œœb œœ œœ3

˙̇œœ

Fmin7 Bb7 ˙̇̇ œœ œœjœ œ

œn ‰ ...œœœbbb

Eb Gbmin7

œœ œœœ Œ ‰ jœjœœ ‰ Œ œ- œ.

Fmin7 Bb7

. .. .. .˙̇̇ jœœnŒ œ œœ œœnn œ

Ebmaj7

p

&?

bbb

bbb

41

œœ ..œœb jœœ ..œœ jœœŒ œ œ

Ó‰ .œ

G 7

œœ œœ œœ œœ>‰ jœ jœn Œ Ó

Fmin7

œœ Œ œœœn œœœ‰ œ Œ œ ‰ . r

œ3

œœœ œœœ œœœ œœœ Œ Œ .œ œn

&?

bbb

bbb

45

˙̇ œœn œœwwA

Œ ‰ Jœn

Bb7

Œ œ œ œ œ# ‰ œ ‰ Jœ,3

œ Œ Œ œœœ

Ebo7

F...œœœ

jœœ œœn ‰ Jœœœ>

Œ ‰ jœ œbœ

Ebmaj7 Gbo7

P

&?

bbb

bbb

48 œœœ ...œœœ œœœ .œ jœœ œœœn œœœœb œ œ œœbb œœŒ ! œ œ œ

Gmin7

f..˙̇ œœœœ œœœœ

˙̇ œ ‰ œ œœ3

Fmin7

œœœœ Œ œœnœœ œ œœ œœ

œœœ œœœ œœœ œœœb‰ ...œœœ œœœ œœb

3I'll Be Seeing You


&?

bbb

bbbœœb

œ œ œn œ# ‰ œ ‰ jœ3

!

Abmin7

FŒ œœœœ> œœœœ ...œœœ>

Œœ œ .œn

Gmin7 G 7

f.œ jœ˙̇̇

˙̇

Cmin7

œ ‰ ‰ œœ œœ œn œ3

œ œ œ œœb

Fmin7 Bb7 Abmin7

P

&?

bbb

bbbœœ " ...jœœœn œœœ œœœœ " ...

jœœœ œœœ œn

Gmin7 Ebmaj7+

œœ œœ œœ œœ œœ3

œœœ Œ œœ Jœ œ3

Cmin7 œœ œœ œœ œœ ˙Œ ....˙˙˙̇

Jœœ ww

Fmin13

fœ œœ œœ œœœnŒ œœn œ œœ

C 7

&?

bbb

bbb

œœœœ " œ œ œ œ œ œ

œ Jœ ‰ œœœœœ œœn

Fmin7

œ œ œœœ œ œ œ3

œœ Œ œœn>

œ œb3

C 7 Fmin7EbŒ œœœ œœœ œœœ ‰ œœœ

œ œ œœb œœœ œb œ œ

G ø 7 Dbœœb œœn œœœ#b œœœ

œ œ jœœ jœn

œnjœ

œ

C 7

&?

bbb

bbb

64 œœœ œ œ œ œ œ œ œœ Œ œ œ œn3

3

jœ..œœ œœ œ

Fmin7 Dmin

f pŒ ‰ Jœœ



G 7

f‰ jœœœ œœœ œœœ œœœ

jœœœ .....œœœœœn3


w

Cmin7

P

&?

bbb

bbb

67 wwwn Œœn œ œ

œn œn œ œn œn œ œn œn

10w

F 9

4 I'll Be Seeing You

68

Rubato and polyphony are used throughout the improvisation, displayed in the following

example.


&?

bbb

bbb

16 .˙ œ œ œŒ œœ œœn ˙̇ Œw

Cmin7

F.œ Jœ Jœ œ Jœ

˙̇ ...œœœn Jœœ

F sus F 13

œ œ œ œ˙̇̇ww

Eb Fmin7

Fœœœ œœœ ˙̇̇ œœœ œœ œœ œœœn œœœ

3

œ œ ˙ œn œ œ

Bb7 Fmin7

p

&?

bbb

bbb

20 ...œœœ œœœ œœœ œœœ œœœ3

‰ jœœ ‰ ! ..jœœ3

˙

jœ .œ œœœ .œ jœ˙̇̇̇ ˙̇.œ œ ˙

Bb7 Gmin11

˙ ˙wn

C

P .œ jœ .œ jœœ œœ œ œœ

Fmin9 Bb7

&?

bbb

bbbw‰ .œ ˙

w

Ebmaj7

p wwn .œ jœ> ˙

wn

G 7

œœA œœœ œœœ œœœn# œœœb3

‰ œn œ3

Cmin7

F‰ . rœœœ œœ œ œ œ œ

œœœ œJœ

œ œJœ

œ œ

Fmin7

P

&?

bbb

bbb

œœ œœn œœœ œn œ œœ œ

Jœ

C 7 œ œ œ œœ œœ œœn œœ œœ œœ œ œnœœœ ˙ Jœœ œ˙ ˙

Fmin7

F f.œ jœ œ œœn œœ

œ œ œb Œ œ ..œœb œ œ3 3

G ø 7 Abmin7

.œ jœœn œœ œœb œœbjœ œ ! rœ œ .œN œ.œ Jœb ˙

G 7 C 7

&?

bbb

bbb

˙̇ œœœb œœœ‰ œ jœ ˙̇œn ˙ œ

Fmin7

˙ œœœ œœ œœœ3

Ó œœb œœ Œ3

w

D 7 ..œœjœœ ˙̇ œn

œ ..˙̇

Cmin7


In both “Here’s That Rainy Day” and “I’ll Be Seeing You,” gestures interrupt the melodic

statement, creating counterpoint between disjointed melodic lines and the established rhythmic

pulse. Sudden shifts in rhythm, texture and dynamics allude to what André Hodeir attributed to

“pivotal values of modern art” - “discontinuity and asymmetry.” 140 During the course of his

improvisation on “Here’s That Rainy Day,” Hill makes use of many rhythmic subdivisions and

though there is an abundance of sixteenth-notes that hint at double-time, he varies the rhythms so

that this does not become monotonous.

69

140 Hodeir, André. (1976). Toward Jazz. New York: Da Capo Press.


&?

#

#


œœ œ

œœœnb


Œ œ œb œ

Bmin7 Bb7 Amin7


œœ œœb

œœœbb

Amin7 Ab7

&?

#

#



G Gmin7


œb Œ

Fmin7 Bb7




&?

#

#œ Œ Œ œ œn œ#3


Amin7


œœœœœ Œ œ

Amin7 D 7 œœœ œœœb œœœbn œœœ œœœbb œœœ##3

3

Ó œ œn œb3

&?

#

#...œœœn jœœœ œœœ œœœb œœœb

.œ jœ œ œb

Dmin7 G 7


œ œ ˙̇

Cmin7

˙˙#> Œ œ# œ œ œb

˙#œœ ..˙˙#

F 7


Bb

&?

#

#

76

œœn ‰ œ œ# œb œ œ œb ! œ- œb ^3

Œ œ œb œœ#b



&?

#

#! .Jœ œ œ œ !œ œb œb œ œœ œnœœœœ. œœœœ œœœœ#nbb œœœœ

G Bbmin7

Fœa œ œ# œ œb œb œn œn œ œn œ# œ œ œb œ œ#œœ œœn

œ œ

D 7

f.œ J

œœ ˙̇


G Gmin7

P

&?

#

#


œœœœbJœœœœ


Bb7 wwwwb


Eb Fmin EbŒ ‰ J


œbœ

œb œb

˙ Œ ‰ œn œb3

œœœœœœ œ#

œœ#

Amin7 E/G#

&?

#

#


œœœ Œ œœœœb

Amin7 D 7


œ. œ. œœba>

G Ebo7



Dmin7 G 7

&?

#

#

jœ .œ .œ Jœ


-

C Bmin7 Bbo7



Amin7 D 7


œ œ œ œ# œ3

Bmin7

....˙̇̇̇ œœœ#Œ ˙ œ#˙

Emin11

FŒ . Jœ .œ J

œœ

œ œœ#

œœœ#

Amin7 E7/G#

&?

#

#

30 œœ œœ .œ œ œ œb3

œ œœœ

œœœ#n


3


G Bbmin7


œœœœ

œœœœb

Amin7 D 7


In “I’ll Be Seeing You,” there is not only ample rhythmic variation, but also textural variation.

The following example, which occurs near the beginning of this performance, shows a broad

range of rhythms and textures.

70


&?

bbb

bbb

œœœ ...œœœ œœœ .œ jœœ œœœn œœœœb œ œ œœbb œœŒ ! œ œ œ

Gmin7


˙̇ œ ‰ œ œœ3

Fmin7



&?

bbb

bbbœœb

œ œ œn œ# ‰ œ ‰ jœ3

"

Abmin7


Œœ œ .œn

Gmin7 G 7

f.œ jœ˙̇̇

˙̇

Cmin7


œ œ œ œœb

Fmin7 Bb7 Abmin7

P

&?

bbb

bbbœœ ! ...jœœœn œœœ œœœœ ! ...

jœœœ œœœ œn

Gmin7 Ebmaj7+




Jœœ ww

Fmin13


C 7

&?

bbb

bbb

œœœœ ! œ œ œ œ œ œ


Fmin7


œœ Œ œœn>

œ œb3




œ œ jœœ jœn

œnjœ

œ

C 7

&?

bbb

bbb


3

jœ..œœ œœ œ

Fmin7 Dmin

f pŒ ‰ Jœœ



G 7




w

Cmin7

P


71

At several points, Hill obscures the compositional form through rhythmic devices, dynamic

contrast and by altering the harmonies in cadences leading to tonic (bracketed), as in the

following examples.


&?

bbb

bbb

‰jœn

rubato ballad

pŒ ...˙˙̇n

œ œœn ...œœœn jœ œ œœ

Dmin9

wwwœœœ

...˙̇̇!

œ œœn œœ ˙̇œ ˙F

Ó .œ jœn˙.œ jœ‰ Jœ œœn ˙̇

&?

bbb

bbb

5

œ. ˙œn Œ Óœœ Œ Ó

" œ- œ œ œœ ˙˙3

˙̇‰ Jœ

.˙

Bb7

p fjœ .œ ˙

Jœœœnn# ..œœb ˙̇

B o7 Cmin7

P...˙̇̇ œ>

www

Fmin13

p F

&?

bbb

bbb

9 œ œ œ œ œ œ Jœ# œ œ œ œn3

3 3wwwnA

C7

Jœ œ œ œ jœ .œ3

Œ . ˙̇̇

Fmin7

jœ . .œ> wwwn œ œ œn œwww

Bb7

&?

bbb

bbb

œ œ œn Œ œ œ œ œwww

pœ ‰ jœ œ œn œ

. .. .. .˙̇̇ jœF

Œœ# œ œ œJœ .œ

w‰ .œn

Ebmaj7

F˙ .œ jœ˙ ˙Ó ˙

˙

Dmin7

p


&?

bbb

bbb

35 ..˙̇n ‰ œ œ3


..˙̇ œœ œœ

F 9


œ Jœ œ œ3˙̇ ˙̇̇̇bn

Fmin7 Gbo7

&?

bbb

bbb


˙̇œœ



Eb Gbmin7


Fmin7 Bb7


Ebmaj7

p

&?

bbb

bbb

41


Ó‰ .œ

G 7


Fmin7


œ3


&?

bbb

bbb˙̇ œœn œœ

wwAŒ ‰ Jœn

Bb7

Œ œ œ œ œ# ‰ œ ‰ Jœ,3

œ Œ Œ œœœ

Ebo7

F...œœœ


Œ ‰ jœ œbœ

Ebmaj7 Gbo7

P fœœœ ...œœœ œœœ .œ jœœ œœœn œœœœb œ œ œœbb œœŒ ! œ œ œ

Gmin7

3I'll Be Seeing You


&?

bbb

bbb

49 ..˙̇ œœœœ œœœœ˙̇ œ ‰ œ œœ

3

Fmin7



œœbœ œ œn œ# ‰ œ ‰ jœ

3

!

Abmin7

F

&?

bbb

bbb

Œ œœœœ> œœœœ ...œœœ>

Œœ œ .œn

Gmin7 G 7

f.œ jœ˙̇̇

˙̇

Cmin7


œ œ œ œœb

Fmin7 Bb7 Abmin7

Pœœ " ...jœœœn œœœ œœœœ " ...

jœœœ œœœ œn

Gmin7 Ebmaj7+

&?

bbb

bbb

57




Jœœ ww

Fmin13

f

&?

bbb

bbb

59 œ œœ œœ œœœnŒ œœn œ œœ

C 7

œœœœ " œ œ œ œ œ œ


Fmin7


œœ Œ œœn>

œ œb3

C 7 Fmin7 EbŒ œœœ œœœ œœœ ‰ œœœ


G ø 7 Db

&?

bbb

bbb


œ œ jœœ jœn

œnjœ

œ

C 7


3

jœ..œœ œœ œ

Fmin7 Dmin

f pŒ ‰ Jœœ



G 7

f


72


&?

bbb

bbb


3


w

Cmin7

Pwwwn Œ


10w

F 9

&?

bbb

bbb



Fmin7


Bb7



Gmin7 Gbmin7

&?

bbb

bbb

71 œn ‰ Jœb Œ ! rœ œ œ œœœœ Œ œœbb œ

Fmin7

5I'll Be Seeing You

3rd chorus


&?

bbb

bbbœ ‰ jœ# jœ œ jœœŒ œn ‰ jœ ‰ œ ‰ œ

3 3

Bb13

œœn

œn

œœ œœ jœœ ..œœ3

œ

B o7

P œœ œœœb œœ œœœn œœ3

.œ ‰œ œn

Cmin7

œœœœ ‰ œœœœ Œ ‰ œ œb œ œb ! œ3 3 3

œ œ œ œn

Fmin7

P

&?

bbb

bbb

Œ ‰ jœ# ‰ œ œœ ‰ jœ3

Œ œœ œœœn œœœ œb .œ œ œœ ® . .. .jœœnœœn ‰ . rœ œ

..œœn . œœbb .

&?

bbb

bbb

œœ œœ œœ œœŒ ‰ jœ .œ jœ

. .. .. .œœœ#nrœœœ œœœ jœ œœœ œb

.œ Jœœœ#n œœœ œn jœœ Œ

Ebo7 ten.

œn œn œA œ œ ‰ œn œb œb œ œb œ3 3

Œ jœœ œœ Ó3F

&?

bbb

bbb

81 ‰ jœ œœœ# œœœ œœn œœ˙̇̇ œœœ œœbb œœ

Cmin7

p f



&?

bbb

bbbœ ‰ jœ# jœ œ jœœŒ œn ‰ jœ ‰ œ ‰ œ

3 3

Bb13

œœn

œn


œ

B o7


.œ ‰œ œn

Cmin7


œ œ œ œn

Fmin7

P

&?

bbb

bbb

Œ ‰ jœ# ‰ œ œœ ‰ jœ3


..œœn . œœbb .

&?

bbb

bbb

œœ œœ œœ œœŒ ‰ jœ .œ jœ



Ebo7 ten.


Œ jœœ œœ Ó3F

&?

bbb

bbb

81 ‰ jœ œœœ# œœœ œœn œœ˙̇̇ œœœ œœbb œœ

Cmin7

p f


! Hill’s first recording, So in Love, shows the most connection to hard bop through the use

of laid-back swing, syncopation and hemiola. As his career progressed, a looser approach to

rhythm became more prevalent, ultimately leading to the use of polyrhythm, energy-rhythm and

rubato. This evolution is most evident on Hill’s last four albums, Dusk, The Day the World Stood

Still, A Beautiful Day and Time Lines.

73

CHAPTER FOUR Macro-level Construction in the Improvised Solos of Andrew Hill

! In the following chapter, I will discuss the macro-level construction of Andrew Hill’s

improvisations. I will first highlight aspects as they relate to what Ekkehard Jost calls “motivic

chain-association.” In addition, I will discuss similarities and variations of turnarounds and

cadences and methods of obscuring cadences.

Motivic Chain-Association

! “Motivic chain-association” is defined by Jost as improvisation in which the improviser

“...invents [and develops]...motives independent of the theme...”.141 He goes on to state that “...an

inner cohesion is created that is comparable to the stream of consciousness in Joyce...one idea

grows from another, is reformulated, and leads to yet another new idea.” 142 This technique may

also be thought of as “episodic,” similar to the manner in which “episodes” of a composition

unfold and develop. In Hill’s improvisations, this concept appears in the form of what could also

be described as motivic sequences and melodic repetition. The beginning of his solo on

“Penthouse Party,” for example, has several repetitions of a motive (label m1), which is slightly

altered and then transposed.

74


142 Ibid.

Example 4.1: “Penthouse Party” m 24-35 (beginning of first chorus)

&?

bb

21 . .. .. .˙̇̇bbjœœœnnn

‰ ..œœ ‰ ..œœ



‰ ..œœ ‰ ..œœ

F 7/C

&?

bb



‰ ..œœ ‰ ..œœ

F 7/C


‰ ..œœ ‰ ..œœ


&?

bb


‰ ..œœ ‰ ..œœ


Bb7/C


‰ ..œœ ‰ ..œœ


F 7/C

&?

bb

‰ œœ̂jœœbb -


‰ ..œœ ‰ ..œœ

œœ œ œ œ œ œ œœ œœnb‰ ..œœ ‰ ..œœ

G-7/C

œœ œ œ œ œ œ œ œb œ œ3

‰ ..œœ ‰ ..œœ

C 7


F 7/C

&?

bb

36 Œ œ œ œ œ œ œ œ3 3

‰ .œ Ó˙̇ œ œ œ œ œœ3


F 7



œœœ Œ ‰ œœœb ‰

2 Penthouse Party

2nd chorus

m1

transposed altered

After clearly defining the pulse during the first four measures of his improvisation on “Ode to

Von” with a primarily rhythmic motive (labeled m1 in Example 4.2), Hill begins to obscure the

pulse by sequencing descending sixths (m2) while altering the rhythm to give an illusion of a

ritardando. This motivic field concludes an eight measure phrase, leading to a shorter motive

(m3) before a new motivic field comprised of a six-note figure is repeated (m4).

75


&?

bb

bb.œ jœn jœ œ jœ

˙̇˙˙ ....œœœœ Jœœœb.œ jœ œ œ œ œ

˙̇˙ Ó

F min7

˙ œ œ‰ .œ Ó

Gsus G 7

&?

bb

bbœ œœ ˙̇‰ J¿ Œ Œ ‰ Jœœœb

C min7


Ebmin7


Œ ‰ Jœœb ˙̇

Eb7

&?

bb

bbœ .œb œ .œ œb .œ œ .œb


3 3

!

D7alt


Db7



Cmin9

&?

bb

bb

jœœœ œœœ jœ œ œ œn œ œ œ œb œ

˙̇ Óœn œ œ œ œb œ œn œ œ œ œb œ œn œ œ œÓ ˙̇˙


3Ode to Vonm1

altered altered m2

elaborated m3

m4

76

In his solo on “Yellow Violet,” dyads constructed with major and minor sixths are planed

diatonically creating a motivic field (labeled m1) which, after a brief melodic quote, leads to a

second motivic field.


&?

bbbbbb

33

Jœœn#


œœœœ œœn#

3 33

C min7 C min/Bbœœ

œœn

œœ

n œœ#

œœ


Jœ ‰ Œ

Eb7

&?

bbbbbb

œ œ œn œ# œ œn œn œ œœœn ‰ J

œœœn Œ œœœœ


C min7


Bbmin7Eb7


Œ ‰ Jœ# Ó

F 7

&?

bbbbbb


Ó œ œœ

G 7 C min7 Bbmin7


A ø7


!

Abmaj7

&?

bbbbbb

"

‰ . rœ œ œ œ œb œ œ œ œ œ œ œ œ‰ ...œœœb Œ

œ

Dbmaj7 œ œb # œ œ œ œ œ œ œn œ# œ œ œn œ œ œ3

‰ JœœœnŒ ˙b

C min7 Db

&?

bbbbbb " "

44 œ œ œ œb œ œ œ œ œ œ œ œ œn œ œ œb œ3



Ó # .jœ Œ

C min/Bb

4 Yellow Violet

m1 elaborated(m1)

melodic quote m2

(m2 continued)

(m1 continued)

In the following example, Hill moves from a major second dyad to a minor seventh, creating a

primarily a rhythmic motive.

77


&?

29


˙ œ ˙ œ


www ..œœ jœw ˙

&?






&?


jœœ œœjœœ

3 3





Œ ‰ Jœ Œ ‰ jœ# ˙


&?

jœb .œ wJœ .œ œ .˙

˙̇# ww..ww

...www#...˙̇˙#

....wwww#


&?

44 ....˙̇̇̇ œ# Ó˙̇̇ ‰ jœœ Ó ‰ jœœ




œœ ˙̇ Ó .Ó . ‰ ..œœ œœ‰ jœœ ˙̇ ..˙̇

3Georgia Ham

78

A similar motive is use later in the same solo.


&?

..ww#

.wœœ# Ó ‰ jœœ œœ Œ

!œœ## Ó ‰ jœœ œœ>

Œ!

œœœ### .jœœœ- œœœ.

jœœœ‰ œœœ.

œœœ.jœœœ

!

&?

‰ œœœ### .jœœœ œœœ œœœ œœœ œœœ

‰ jœœœŒ3




jœœ!


&?

‰ jœœ##Œ œœ

‰ jœœŒ œœ




‰ jœœ##Œ œœ

Œ ‰ jœœŒ

Ó Œ ‰ jœ


.œ jœ# !

&?


w# Ó!!

..œœ .œ ..œœ# ..œœ##

.˙ .˙#

œœ œœ ˙̇ ..˙̇

œ œ ˙ ˙ œ œ

6 Georgia Ham

79

In Example 4.6, a motivic field is created out of major third dyads, which are repeated up an

octave.


&?

! ‰ œœ jœœ#.˙ jœ ..œœ œœ



˙̇ œœ œœ ..˙̇!

&?

œœ œœ# œœ œœ ‰ œœn œœ Jœœ

!Jœœ œœ Jœœ# Œ œœn Jœœ œœ# Jœœ

!‰ ..œœ œœ œ# œ œ# œ œ œb œ

7

!œb œb œ œÓ w

&?

106 Ó ‰ jœœ## ..œœ jœœ# Œ

˙ œœ Ó .œœ# Œ ‰ jœœ œœ Œ œœ

!! ..œœ J

œœœœ Ó ‰ jœ Ó

˙˙˙ œœ œœœ œ œœœ!

&?

110 www œœ œœ œœ! ‰ Jœ œ

Œ ‰ jœœb ‰ œœbb " ..jœœn Œ

Œ ‰ Jœb ‰ œb " Jœ Œœ# .œ jœ .˙

.˙ ‰ Jœ# ˙.œ ..œœ# œœ ˙̇.˙

!

7Georgia Ham

Two motives may work together to create an antecedent-consequent phrase, as in the following

example from his improvisation on “Ode to Von.” The ascending gesture is followed by a

descending line, creating an antecedent-consequent phrase.

80


&?

bb

bb

85 !...œœœb J


F min7

&?

bb

bb

!Œ œ ¿ œ ¿ œb ¿ œn jœb3 6

‰ .œ

G 7

œ jœ ¿ œn ¿ œ ¿ œ# j¿ œ6 6


Cmin11Ebmin7

&?

bb

bbœ# ¿ œ ¿ œ ¿n œn ¿ œ ¿ œ# ¿b6 6



œœœb œœœ

Eb7

&?

bb

bb




Ab7


Ó Œ ‰ Jœœœ

8 Ode to Von

Antecedent

Consequent

Repetition of Turnarounds and Cadences

! Hill’s interpretation of conventional harmonic progressions is best studied within the

context of his solo improvisations, which contain most of his performances of non-original

compositions. The following examples from “Here’s That Rainy Day” contain several instances

of turnarounds - common harmonic sequences used to connect phrases. In its most basic form,

roots move through the circle of fifths, in the case of a turnaround in G major: B - E - A - D - G.

However, the harmonies may be altered through inversion or substitution. In the following

examples, a passing flat-three chord connects the iii and the ii. This harmony appears in nearly

81

every turnaround in “Here’s That Rainy Day” and “I’ll Be Seeing You,” occurring as a major,

minor or diminished chord.


&?

#


G Bbmin7


œ œ

D 7

f.œ J

œœ ˙̇


G Gmin7

P

&?

#

#


œœœœbJœœœœ


Bb7 wwwwb


Eb Fmin EbŒ ‰ J


œbœ

œb œb

˙ Œ ‰ œn œb3

œœœœœœ œ#

œœ#

Amin7 E/G#

&?

#

#


œœœ Œ œœœœb

Amin7 D 7


œ. œ. œœba>

G Ebo7



Dmin7 G 7

&?

#

#

jœ .œ .œ Jœ


-

C Bmin7 Bbo7



Amin7 D 7


œ œ œ œ# œ3

Bmin7

....˙̇̇̇ œœœ#Œ ˙ œ#˙

Emin11

FŒ . Jœ .œ J

œœ

œ œœ#

œœœ#

Amin7 E7/G#

&?

#

#


œ œœœ

œœœ#n


3


G Bbmin7


œœœœ

œœœœb

Amin7 D 7


Example 4.9: “Here’s That Rainy Day (measures 30-32)

&?

#


G Bbmin7


œ œ

D 7

f.œ J

œœ ˙̇


G Gmin7

P

&?

#

#


œœœœbJœœœœ


Bb7 wwwwb


Eb Fmin EbŒ ‰ J


œbœ

œb œb

˙ Œ ‰ œn œb3

œœœœœœ œ#

œœ#

Amin7 E/G#

&?

#

#


œœœ Œ œœœœb

Amin7 D 7


œ. œ. œœba>

G Ebo7



Dmin7 G 7

&?

#

#

jœ .œ .œ Jœ


-

C Bmin7 Bbo7



Amin7 D 7


œ œ œ œ# œ3

Bmin7

....˙̇̇̇ œœœ#Œ ˙ œ#˙

Emin11

FŒ . Jœ .œ J

œœ

œ œœ#

œœœ#

Amin7 E7/G#

&?

#

#


œ œœœ

œœœ#n


3


G Bbmin7


œœœœ

œœœœb

Amin7 D 7


Example 4.10: “Here’s That Rainy Day (measures 46-49)

&?

#

#



œn Œ œbœa

Bb7

!

œbœœnb



œbœb Œ œœ#

Eb

&?

#

#

37 œb œ ‰ Œ ‰ œ œ œ œ œ œ3 3

œœœœ

œ Œ


6

œœœœ

œœ

c D 7 œ œ œ œ# œ ÓÓ œœ œœba

&?

#


œœn œœ Œ œ


œœn Œ œb

Cmin7


œn œn œ

F 7

&?

#

#

43

˙ Ó‰ jœœb

œœbjœ#

œœn jœœœn

Bb Cmin C#o7 Dmin


jœbœœ

œb œœb œœ#

Eb Bbmin7 Eb7


œœœœ œb œb

Amin7 Bb7

&?

#

#Ó œ œ œœœœb œœœœ3 3

œ œœ œ

Amin7 D 7


œ œ œb œ

G Bb6


œœœb

Amin7 D 7



G Gmin7


A Little Faster

82


&?

#

#


œœ œ

œœœnb


Œ œ œb œ

Bmin7 Bb7 Amin7


œœ œœb

œœœbb

Amin7 Ab7

&?

#

#



G Gmin7


œb Œ

Fmin7 Bb7




&?

#

#

69



Amin7


œœœœœ Œ œ


3

Ó œ œn œb3


.œ jœ œ œb

Dmin7 G 7

f

&?

#

#

73 œœœ Œ Œ ‰ jœ

œ œ ˙̇

Cmin7

˙˙#> Œ œ# œ œ œb

˙#œœ ..˙˙#

F 7



Œ œ œb œœ#b

&?

#

#Ó Œ œ œ

3

œœœœ œb œœ

Amin7 Ab7

œ œ ..œœjœœœ

œœœ œœ ..œœjœœ

Amin7 D 7

˙̇̇ Œ œ œ œb3

˙̇ ˙̇bb

Bmin7 Bbo7

Pœ œn œ œb œ ‰ Ó

3 3

œNœœ œœ œœ

Amin7 D 7


Slower


&?

#

#


œœ œ

œœœnb


Œ œ œb œ

Bmin7 Bb7 Amin7


œœ œœb

œœœbb

Amin7 Ab7

&?

#

#



G Gmin7


œb Œ

Fmin7 Bb7




&?

#

#

69



Amin7


œœœœœ Œ œ


3

Ó œ œn œb3


.œ jœ œ œb

Dmin7 G 7

f

&?

#

#

73 œœœ Œ Œ ‰ jœ

œ œ ˙̇

Cmin7

˙˙#> Œ œ# œ œ œb

˙#œœ ..˙˙#

F 7



Œ œ œb œœ#b

&?

#

#Ó Œ œ œ

3

œœœœ œb œœ

Amin7 Ab7

œ œ ..œœjœœœ


Amin7 D 7

˙̇̇ Œ œ œ œb3

˙̇ ˙̇bb

Bmin7 Bbo7

Pœ œn œ œb œ ‰ Ó

3 3

œNœœ œœ œœ

Amin7 D 7



&?

bbb

bbb


Cmin7

F.œ Jœ Jœ œ Jœ


F sus F 13

œ œ œ œ˙̇̇ww

Eb Fmin7


3

œ œ ˙ œn œ œ

Bb7 Fmin7

p

&?

bbb

bbb

...œœœ œœœ œœœ œœœ œœœ3

‰ jœœ ‰ ! ..jœœ3

˙

jœ .œ œœœ .œ jœ˙̇̇̇ ˙̇.œ œ ˙

Bb7 Gmin11

˙ ˙wn

C


Fmin9 Bb7

&?

bbb

bbbw‰ .œ ˙

w

Ebmaj7

p wwn .œ jœ> ˙

wn

G 7


‰ œn œ3

Cmin7


œœœ œJœ

œ œJœ

œ œ

Fmin7

P

&?

bbb

bbb

œœ œœn œœœ œn œ œœ œ

Jœ

C 7 œ œ œ œœ œœ œœn œœ œœ œœ œ œnœœœ ˙ Jœœ œ˙ ˙

Fmin7



G ø 7 Abmin7


G 7 C 7

&?

bbb

bbb

˙̇ œœœb œœœ‰ œ jœ ˙̇œn ˙ œ

Fmin7


Ó œœb œœ Œ3

w


œ ..˙̇

Cmin7



&?

bbb

bbb

35 ..˙̇n ‰ œ œ3


..˙̇ œœ œœ

F 9


œ Jœ œ œ3˙̇ ˙̇̇̇bn

Fmin7 Gbo7

&?

bbb

bbb


˙̇œœ



Eb Gbmin7


Fmin7 Bb7


Ebmaj7

p

&?

bbb

bbb

41


Ó‰ .œ

G 7


Fmin7


œ3


&?

bbb

bbb˙̇ œœn œœ

wwAŒ ‰ Jœn

Bb7

Œ œ œ œ œ# ‰ œ ‰ Jœ,3

œ Œ Œ œœœ

Ebo7

F...œœœ


Œ ‰ jœ œbœ

Ebmaj7 Gbo7

P

3I'll Be Seeing You

83


&?

bbb

bbb


œ œ jœœ jœn

œnjœ

œ

C 7


3

jœ..œœ œœ œ

Fmin7 Dmin

f pŒ ‰ Jœœ



G 7

f

&?

bbb

bbb


3


w

Cmin7

Pwwwn Œ


10w

F 9

&?

bbb

bbb



Fmin7

&?

bbb

bbbœœA œœ œœ ..œœ jœn‰ jœ

Bb7



Gmin7 Gbmin7 œn ‰ Jœb Œ ! rœ œ œ œœœœ Œ œœbb œ

Fmin7

œ ‰ jœ# jœ œ jœœŒ œn ‰ jœ ‰ œ ‰ œ

3 3

Bb13

&?

bbb

bbb

73

œœn

œn


œ

B o7


.œ ‰œ œn

Cmin7


œ œ œ œn

Fmin7

P

5I'll Be Seeing You

3rd chorus


&?

bbb

bbb

76 Œ ‰ jœ# ‰ œ œœ ‰ jœ3


..œœn . œœbb .œœ œœ œœ œœŒ ‰ jœ .œ jœ

&?

bbb

bbb

79



Ebo7 ten.


Œ jœœ œœ Ó3F

‰ jœ œœœ# œœœ œœn œœ˙̇̇ œœœ œœbb œœ

Cmin7

p f

&?

bbb

bbb

œœ œœœ œœn œœ œœ œœœ œœ

jœœnn œjœ

Ó . œ œb œ œbŒ œœ œœ œœ ..œœ œ œœJœ .œ

œU ‰ jœœœœb œœn jœ œœœnU Œ œœœbnb

G o7 Gbo7

&?

bbb

bbb

.œ œœ œœ ..œœ œœ œ œœœ œœ ...œœœb œœœ œœb

Fmin7 Abmin7Db7 .œ Jœ œ œ œ

œ œœ œœœn...œœœn œœ

Gmin7 E o7

P..˙̇ œœb

œœ œ œœœ œ œœb œœ œ3 3

Fmin7 Bb7 Abmin7ten.

..œœjœœœ œœœ œœœ

.œ Jœœ œœ œœ

Eb

f


Hill also obscures the beginning of phrases on “Georgia Ham.” During this performance, the

drummer maintains a strict 6/4 meter, while Hill avoids a proper quotation of the melody into the

downbeat of the following phrase. The following example shows a cadence to B minor. The

bracketed motives are melodic quotations that are altered rhythmically.


&?

29


˙ œ ˙ œ


&?

www ..œœ jœw ˙





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35 jœœ# œb œ jœœ#n ..œœ .œ‰ . rœœbb Œ Ó

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of these chords (E7), which occurs at the end of the form, cadencing back to tonic (bracketed).

The dominant tonality is implied through the use of the leading-tone (G-sharp). The following

examples include several changes in meter due to the highly rubato performance.


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86

Conclusions

! Andrew Hill recorded with many prominent jazz figures, yet he was confined to the

fringe of fame for the majority of his career. As he did not manage to reach substantial critical

success during his life, a degree of anonymity provided him with independence that allowed him

to continue along an individual path:

! The thing about having been on the fringe of fame and fortune for so long, is that I ! continue to create without the constant glare of society, so I didn’t have to stick to any ! formula.

It is precisely this progressive approach that has caused his music to elude critics and public

alike. His dissonant harmonies and “loose” arrangements can come across as poorly executed,

yet this would be missing Hill’s aim entirely. His artistic goals were not pristine recordings, but

the facilitation of collective creativity:

! These magic moments when the rhythms and harmonies extend themselves and jell [sic] ! together and the people become another instrument. These are the things that are priceless ! and can’t be learned; they can only be felt.143

Luckily, several people had the foresight and means to document his performances throughout

his nearly fifty-year career. Due to the release of nearly all of his Blue Note sessions, thanks to

producers Alfred Lion, Michael Cuscuna and Francis Wolff, Hill began to receive critical

acclaim during the last decade of his life. However, Hill considered himself to have been

consistently experimental throughout his career:

! Look, when I started in the sixties, what I was doing was just as experimental, but people ! didn’t perceive it that way. Jazz was still a popular music. It hadn’t turned !itself into an ! art form. Listeners had more developed ears, so they could hear what I was doing as a ! part of a continuum. Nowadays, some people find my music from that era rather weird, ! but it was natural to us and to our audiences. So today, I’m still taking hold of the ! melodies in my head, and I’m still mainly writing for myself. But my main goal is to

87


! make everything I do musical, so that people who really love music can enter into it and ! share the experience.144

However, a distinct stylistic change in his ensemble work can be noted between the bulk of his

output and his last four albums, Dusk, A Beautiful Day, The Day the World Stood Still and Time

Lines. On these recordings, pulse and form are highly abstracted, though not fully abandoned.

His piano technique developed out of a synthesis of hard bop and free jazz and became more

homogeneous and polyphonic as his career progressed.

! Hill’s playing is instantly recognizable, though difficult to describe, leading one critic to

write, “...it seem[s] as if he had plucked a new jazz language from his imagination.” 145 Several

characteristics are prevalent throughout his career, one of which is his modern aesthetic. As

André Hodeir defined in reference to Monk, it is the play between continuity and discontinuity

that created a “new and fascinating dialectic of musical time and space.” 146 In Hill’s

improvisations, discontinuity takes the form of rhythmic tension, harmonic obscurity and abrupt

shifts in texture. Throughout his career, Hill also demonstrates a progressive aesthetic, which led

him to constantly create new music, rather than revisiting older compositions. In a manner

similar to free jazz practices, he placed greater importance on the group dynamic, rather than

virtuosic solo improvisations. In free improvisation, as Ekkehard Jost points out, “...the solo is no

longer the culminating point of an individual show of creativity, but is one of many possible

structural units within the sonic and formal organization.” 147 Hill’s music maintained high levels

88

144 Shipton, Alyn. (2001). Handful of Keys: Conversations with Thirty Jazz Pianists. New York: Routledge. 66-70.


146 Hodeir, André. (1976). Toward Jazz. New York: Da Capo Press. 205.

147 Jost, Ekkehard. (1974). Free Jazz: The Roots of Jazz. New York: Da Capo Press. 168.

of improvisation, often becoming fully realized only at the performance. His improvisations are

free from cliché, patterns, scales, licks and quotes, though a relationship to bebop improvisation

can be noted throughout his career. Perhaps the most interesting development that took place in

Hill’s music is the incorporation of rubato and “energy-rhythm” in ensemble settings. Though

many of his recordings from his first major period (1963-1970) employ collective improvisations

that are rhythmically obscured, it was not until Dusk (1999) that he experimented with an

abstract pulse that moved beyond polyrhythm. His recordings throughout his career are inventive

and fresh due to the avoidance of typical jazz clichés, but on his last four recordings in particular,

Hill and his ensemble members experiment with methods of accompaniment that seem to avoid

any overt relationship to jazz rhythms. His music from this period, with an emphasis on

collective creativity, resulted in highly cohesive ensemble performances that represent a truly

new form of jazz.

89

References

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Aebersold, J. and Sloan, K. (1978). Charlie Parker Omnibook. Michael H. Goldsen, Atlantic ! Music Corp.

Andrew Hill Official Website. Accessed March 27, 2011. http://www.andrewhilljazz.com.

Andrew Hill: Twenty-one Piano Compositions. (2010). New York: Boosey and Hawkes.

Appel, Willi. (2000). Harvard Dictionary of Music. 2nd ed. Cambridge: Belknap Press of ! Harvard Press.

Blumenthal, Bob. (2003). Liner notes to Black Fire reissue [CD]. Blue Note Records. ! 7243 5 96501 2 8.

-------------. (1999). Liner notes to Point of Departure reissue [CD]. Blue Note Records. ! 7243 4 99007 2 1.

-------------. (2005). Liner notes to Smoke Stack reissue [CD]. Blue Note Records. ! 0946 3 3 7777 2 9.

Colley, Scott. (2010, August 19). Telephone correspondence.

Crouch, Stanley. (2002). Original liner notes to A Beautiful Day [CD]. Palmetto Records. ! PM 2085.

Cuscuna, Michael. (2007). Liner notes to Change reissue [CD]. Blue Note Records. ! 0946 3 85190 2 7.

-------------. (1995). Liner notes to The Complete Blue Note Andrew Hill Sessions 1963-66 [CD]. ! Blue Note Records. MD7-161 S27-18434.

-------------. (1995). Liner notes to Mosaic Select: Andrew Hill [CD]. Mosaic Records. MS-016.

-------------. (2006). Liner notes to Pax reissue [CD]. Blue Note Records 0946 3 58297 2 3.

DeVeaux, Scott. (1997). The Birth of Bebop: A Social and Musical History. Berkeley: University ! of California Press.

Feldman, Garrick. (2007, April 30). “Great Pianist Leaves a Huge Recorded Legacy.” The ! Leader: Jazz and Blues Music Reviews by Garrick Feldman. http://! www.arkansasreader.com/BLUES/2007/04/great-pianist-leaves-huge-recorded.html.

90

Friis, Søren. (2003). Trans. Banks, Paul. Original liner notes to The Day the World Stood Still ! [CD]. The Scandinavian Music Company. STXCD 20412.

Gridley, Mark C. (2000). Jazz Styles: History and Analysis. Upper Saddle River, New Jersey: ! Prentice Hall.

Heckman, Don. (1963). Original liner notes to Smokestack [CD]. Blue Note Records. ! 0946 3 3 7777 2 9.

Hentoff, Nat. (1980). Original liner notes to Dance with Death [CD]. Blue Note Records. ! 7243 4 73160 2 9.

-------------. (1964). Original liner notes to Point of Departure [CD]. Blue Note Records. ! 7243 4 99007 2 1.

-------------. (1987). Original liner notes to Shades [LP]. Soul Note. SN 1113.

Hill, Andrew. (Performer). (2002, January 24, 25 and 26). A Beautiful Day [CD]. New York City: ! Palmetto Records. PM 2085.

-------------. (Performer). (1963, November 8). Black Fire [CD]. Englewood Cliffs, New Jersey: ! Blue Note Records. 7243 5 96501 2 8.

-------------. (Performer). (1975, February 26). Blue Black [CD]. New York City: East Wind ! Music. TOT-10.

-------------. (Performer). (1990, July 12 and September 16). But Not Farewell [CD]. New York ! City. Blue Note Records. CDP 7 94971 2.

-------------. (Performer). (1966, March 7). Change [CD]. Englewood Cliffs, New Jersey. Blue ! Note Records. 0946 3 85190 27.

-------------. (Performer). (1963, November 8 to 1966, March 6). The Complete Blue Note Andrew ! Hill Sessions (1963-66) [CD]. New York City: Blue Note Records. MD7-161 S27-18434 ! (Discs 1-7).

-------------. (Performer). (1968, October 11). Dance with Death [CD] Englewood Cliffs, New ! Jersey. Blue Note Records. 7243 4 73160 2 9.

-------------. (Performer). (2003, April 23). The Day the World Stood Still [CD]. Denmark and ! Sweden: The Scandinavian Music Company. STXCD 20412.

-------------. (Performer). (1974, July 10). Divine Revelation [CD]. Steeple Chase. SCCD 31044.

-------------. (Performer). (1999, September 15 and October 27). Dusk [CD]. Pennsylvania: ! Palmetto.

91

-------------. (Performer). (1989, January 30 and 31). Eternal Spirit [CD]. Englewood Cliffs, New ! Jersey: Blue Note Records. CDP 7 92051 2.

-------------. (Performer). (1975, May 19, 20 and July 31). Hommage [CD] New York City. Test ! of Time Records. TOT-1.

-------------. (Performer). (1974, October 17). Invitation [LP]. New York: Inner City. 2026.

-------------. (Performer). (1967, February 10 to 1970, January 23). Mosaic Select: Andrew Hill ! [CD]. New York City: Mosaic Records. MS-016 (Discs 1-3).

-------------. (Performer). (1977, January 25). Nefertiti [CD]. New York City: Test of Time ! Records. TOT-7.

-------------. (Performer). (1965, February 10). Pax [CD]. Englewood Cliffs, New Jersey:! Blue Note Records. 0946 3 58297 2 3

-------------. (Performer). (1964, March 21). Point of Departure [CD] Englewood Cliffs, New ! Jersey: Blue Note Records. 7243 4 99007 2 1.

-------------. (Performer). (1986, July 3and 4). Shades [LP] Milano, Italy: Soul Note. SN 1113.

-------------. (Performer). (1963, December 13). Smoke Stack [CD] Englewood Cliffs, New ! Jersey: Blue Note Records. 0946 3 3 7777 2 9.

-------------. (Performer). (listed 1956, actual 1959). So In Love [CD]. Chicago: Fresh Sounds ! Records. FSR-CD 322.

-------------. (Performer). Solos: The Jazz Sessions, Andrew Hill [DVD]. Toronto: MVD Visual. ! MVD 4963D.

-------------. (Performer). (1980, June 13 and 14). Strange Serenade. Milano, Italy: Soul Note. ! 121013OD.

-------------. (Performer). (2005, June 23 and July 18). Time Lines [CD] Englewood Cliffs, ! New Jersey. Blue Note Records. 0946 3 35170 2 8.

-------------. (Performer). (1998, February 10 and 11). Les Trinitaires [CD]. Metz, France: Jazz ! Friends Productions. JFP 002.

-------------. (Performer). (1986, July 5). Verona Rag [CD]. Verona, Italy. Soul Note. 121110-OD.

Hodeir, André. (1976). Trans. Burch, Noel. Toward Jazz. New York: Da Capo Press.

Horton, Ron. (2010, August 17). Email correspondence.

92

Jost, Ekkehard. (1974). Free Jazz: The Roots of Jazz. New York: Da Capo Press.

Lewis, George. (2008). A Power Stronger Than Itself: The AACM and American ! Experimental Music. Chicago and London: University of Chicago Press.

Lyles, Ronald. “Andrew Hill Online Discography.” Last modified August 8, 2009.! http://www.jazzdiscography.com/Artists/Hill/index.htm.

Lyons, Len. (1983). The Great Jazz Pianists: Speaking of their Lives and Music. New York: ! Quill.

Mandel, Howard. (1990). Original liner notes to But Not Farewell [CD]. Blue Note Records. ! CDP 7 94971 2.

-------------. (1999). Original liner notes to Dusk [CD]. Palmetto.

Martin, Dick. (1959). Original liner notes to So in Love [CD]. Warwick. LP-2002. Reprinted on ! Fresh Sounds Records. FSR-CD 322.

Panken, Ted. (2008). “The Dozens: Vijay Iyer Surveys the Music of Andrew Hill.” jazz.com. ! Accessed April 4, 2011. http://www.jazz.com/dozens/iyer-selects-hill.

Ratliff, Ben. (Feb 24, 2006). “Andrew Hill: One Man’s Lifelong Search for the Melody in ! Rhythm.” New York Times. http://www.nytimes.com/2006/02/24/arts/music/24hill.html?! _=1&ref=andrewhill.

Reich, Howard. “Innovative Pianist Andrew Hill Playing Tricks with Time.” Accessed March 27, ! 2011. http://www.andrewhilljazz.com/press/showcase-2.html.

Rosenthal, David H. (1989). Original liner notes to Eternal Spirit [CD]. Blue Note Records. ! CDP 7 92051 2.

Schudel, Matt. (2007, April 22). “Andrew Hill; Jazz Composer Stretched Boundaries.” ! Washington Post. Accessed March 27, 2011. http://www.washingtonpost.com/wp-dyn/! content/article/2007/04/21/AR2007042101064.html.

Sheridan, Chris. (1976). Original liner notes to Divine Revelation [CD]. Steeple Chase. ! SCCD 31044.

Shipton, Alyn. (2004). Handful of Keys: Conversations with 30 Jazz Pianists. New York: ! Routledge.

Skovgaard, Ib. (1976). Original liner notes to Invitation [LP]. New York: Inner City. 2026.

93

Spellman, A.B. (1964). Original liner notes to Black Fire [CD]. Blue Note Records. ! 7243 5 96501 2 8.

Tardy, Greg. (2010, July 9, 31, August 3). Telephone correspondences.

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Tolliver, Charles. (2010, July 31). Telephone correspondence.

Truffandier, Domi. (1998). Original liner notes to Les Trinitaires [CD]. Jazz Friends Productions. ! JFP 002.

94

APPENDIX ATranscribed Solos

“PENTHOUSE PARTY” BY ANDREW HILL! from So in Love (Fresh Sounds), 1959

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109

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116

&?

#

#

64


œœ œœb

œœœbb

Amin7 Ab7

Œ ‰ Jœœœœ œœœœn œœœœ


G Gmin7


œb Œ

Fmin7 Bb7

&?

#

#

67 Ó œ œb œ œ ! œn œb œ





Amin7

&?

#

#

70 œ .œ œ .œb ‰ œ œ œ3

œœœœœ Œ œ


3

Ó œ œn œb3


.œ jœ œ œb

Dmin7 G 7


œ œ ˙̇

Cmin7

&?

#

#

74

˙˙#> Œ œ# œ œ œb

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F 7



Œ œ œb œœ#b

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#

#

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Gliss.77 Ó Œ œ œ

3

œœœœ œb œœ

Amin7 Ab7

œ œ ..œœjœœœ


Amin7 D 7

˙̇̇ Œ œ œ œb3

˙̇ ˙̇#b

Bmin7 Bbo7

Pœ œn œ œb œ ‰ Ó3 3

œœœ œœ œœ

Amin7 D 7

Ó ....œœœœb Jœ

œœ œœœœ œœœœbn œœœ

G Gmin7

F


Slower

117

&?

#

#~~~~~Gliss. ~~~~~Gliss. ~~~~~Gliss.~~~~~Gliss.~~~~~

~Gliss.

82 œœœœb œœœœnn˙̇̇̇bb


œb

Fmin7 Bb7

ten.


jœb˙̇ œb œœnb



Eb Bbo7

f

&?

#

#

85 œn œ# œn œb Œ Œ ! ..Jœœ

œœœœœ œœbb

œœœn

Amin7 Ab7

Pjœ


œœœœ

jœœœ

œœœœnb



G Emin11 Ebo7

F

&?

#

#

88 Œ œ œ œ œn œ ‰ œœ œ3


Dmin7 G 7



C Bmin11 Bb7


Amin7 D 7 C 7ten.

&?

#

#

91 ˙̇̇ jœœœœ#b˙˙̇# ...œœœ jœ

Bmin


œ œ œ œww

Emin11

˙̇ ˙˙#nœ ˙ œ˙̇ ˙̇#

Amin11 G#o7


˙̇ œb > œn œ# œ˙

Amin D 7ten.

&?

#

#

95 Œ œ œœ œœœ ˙̇̇3

œ ..œœ ..˙̇

G


˙˙3 3

w

˙̇̇̇˙˙ Ó

˙Ó

G maj7(#11)


118

“GEORGIA HAM” BY ANDREW HILL ! from But Not Farewell (Blue Note), 1990

&?

46

46!

.w

Even Eighths q = 196

Œ ‰ jœœ Œ ‰ œœ. œœ.jœœ

...www

œœ œ œœ ‰ jœ Ó .

!‰ jœœ œœ. œœ œœ ‰ œœ. œœ.

jœœ!

&?

5 ‰ ..œœ œœ. œœ. œœ. œœ.!

œœ œœ œœ ‰ œœ. œœ. œœ# .jœœ

!œœ œœ# œœ Ó .! ‰ œ jœÓ . ‰ Jœ ˙

œœ œœ œœ œœ œœ œœ œœ œœ œœ3 3 3

œ œ Ó Ó .

&?

9 œœ œœ œœ œœ œœ œœ Œ3

Ó . Ó œ! œ œ œ œœ ‰ Jœ .œ Jœ ˙

œ Ó œœ œ œœ˙ ‰ Jœ œ Œ œn

œ Ó Œ œœ œœ œœ#3

œ ˙̇ ..˙̇

&?

13 Ó ‰ jœ œ œ Œ ‰ œb œ3

˙̇ ˙ Óœb Œ ‰ œ œ œ# ‰ œn jœb

3

Œ ‰ ..œœ# Ó .œ# ˙ .˙Ó œœb ‰ jœ ˙

Œ ˙̇˙˙# ....œœœœ œœœ jœŒ ˙ .œ œœ jœœ

119

&?

17 œ ˙ ...˙̇̇

œœ ˙̇ ˙ œ œœ œ œ œ œ ‰ Ó Œ œ œ3 3

w Jœ .œjœ .œ Œ ‰ œ. jœ Œ

!! œ œb œ œ œb .

.˙ Jœ œ Œ .

&?

21 œ> œ œ# œn œ œb œ œ œ œ œ œ œb3 3

!œ œ œ œ œ# œn œ œb œn œ œb œn œ œ œ œ3 3

!œ œ Ó Œ ..œœ

jœœ^

!

&?

24 !Œ œ !

Œ œœœ- œœœ̂ ‰ Jœœœ ‰ œœœ̂ œœœ̂ J

œœœ

Œ œ# - œ̂ ‰ Jœ ‰ œ̂ œb ^ Jœn‰ œœœ̂ œœœ̂ J

œœœ Œ œœœ̂ Œ‰ œ̂ œ# ^ Jœ Œ œb ^ Œ

œœœ̂ ‰ Jœœœ̂ !

œb ‰ Jœb !

&?

28

Jœœœ œœœ œœœ J

œœœ Jœœœ œœœ œœœ J

œœœ

Jœb œ œ Jœ Jœ œ œ jœ


˙ œ ˙ œ


www ..œœ jœw ˙

&?

32






2 Georgia Ham

120

&?

36


jœœ œœjœœ

3 3





Œ ‰ Jœ Œ ‰ jœ# ˙


&?

40 jœb .œ wJœ .œ œ .˙

˙̇# ww..ww

...www#...˙̇˙#

....wwww#


&?

44 ....˙̇̇̇ œ# Ó˙̇̇ ‰ jœœ Ó ‰ jœœ




œœ ˙̇ Ó .Ó . ‰ ..œœ œœ‰ jœœ ˙̇ ..˙̇

&?

48

..œœ ..œœ œœ# ..œœ jœœ˙̇ w#

œœ œœ œœ# œœ œœ Œ ‰ jœ ..œœ3

‰ jœœ ‰ jœœ ..˙̇..ww

˙̇ œ# .˙Œ œ œ œ# Œ œ œ Œ

...˙̇̇ œJœ ˙

&?

52 œ œ œ# œ œ œ œ œ œ œ œ œŒ ‰ .œ Ó ‰ jœww

.˙ Œ ‰ jœ# œ œb

.œ .œ œ ˙œ œœ# œ œn œ# ‰ Jœb œn œ œ#

Œ ‰ Jœ w‰ œ# Jœb œ œ œ# œ œ œ

3

Jœ œœ ‰ !

3Georgia Ham

121

&?

56 Ó . œ œ œ œ œ œ œ3 3

Ó ‰ Jœœ ..˙̇Ó . œœ œ# œ œ ŒÓ . œ.˙

Œ œ œ œ œ# œ œ œ3

Œ ˙# Œ jœ .œ..˙̇

..wwŒ ‰ .œ ˙ œ œ

&?

60 Œ œ œ œb œ œ ‰ jœ œ œ œ œ#Jœ .œ œ œ ˙ Œ

œ œ œ# œ œ# œ œ œ .œb œb œ œbÓ ‰ Jœœœb ...˙̇˙

‰ jœ# œ œbÓ œb œ œb œ œ œn œb œ

&?

63 ‰ œœ# ‰ Œ œœ# Œ ‰ jœœww# Œ œ#

œ ‰ jœœ# Œ œœ ‰ œœjœœ

wŒ ˙ Ó .

Œ œœ# Œ Œ ‰ ..œœŒ œ Œ Œ ‰ .œ


.œ .œ ˙ œ

&?

67 ....˙̇̇̇ jœœ œœ##jœœ Œ

.˙


w Ó‰ jœœ Ó Œ ‰ jœ œ œ œ

3


&?

71




!

4 Georgia Ham

122

&?

74




œ œ# Œ .˙


w Œ œœ#

&?



!.w#

˙ w.w

..œœ .œ ..œœ ..œœ#

.˙ .˙#

&?

82 ..ww#.w

œœ# Ó ‰ jœœ œœ Œ!

œœ## Ó ‰ jœœ œœ>Œ

!œœœ### .

jœœœ- œœœ.jœœœ

‰ œœœ.œœœ.

jœœœ!

&?

86 ‰ œœœ### .jœœœ œœœ œœœ œœœ œœœ

‰ jœœœŒ3




jœœ!


&?

90 ‰ jœœ##Œ œœ

‰ jœœŒ œœ




‰ jœœ##Œ œœ

Œ ‰ jœœŒ

Ó Œ ‰ jœ


.œ jœ# !

5Georgia Ham

123

&?

94


w# Ó!!

..œœ .œ ..œœ# ..œœ##

.˙ .˙#

œœ œœ ˙̇ ..˙̇

œ œ ˙ ˙ œ œ

&?

98 ! ‰ œœ jœœ#.˙ jœ ..œœ œœ

œœ œœ ˙̇ ˙̇ œœ œœ! Œ jœ œ

œœ œœ œœ œœ œœ# jœœ ..œœ œœ œœ˙ jœ œ œ œ ˙

˙̇ œœ œœ ..˙̇˙ œœ ..˙˙

&?

102 œœ œœ# œœ œœ Œ œœn œœ

œ œ œ œ Œ œ œJœœ œœ Jœœ# Œ œœn Jœœ œœ# Jœœ

Jœ œ Jœ Œ œ jœ œ jœ

‰ ..œœ œœ œ# œ œ# œ œ œb œ7

‰ .œ œ .˙œb œb œ œÓ w

&?



!! ..œœ J



&?

110 www œœœ œœ œœ! ‰ Jœ œ

Œ ‰ jœœb ‰ œœbb " ..jœœn Œ

Œ ‰ Jœb ‰ œb " Jœ Œœ# .œ jœ .˙

.˙ ‰ Jœ# ˙.œ ..œœ# œœ ˙̇.˙

!

6 Georgia Ham

124

&?

114 Œ ‰ .œ# .˙...wwwÓ . .˙

Œ œ# œ œ œ œb œ Ó‰ jœ# ˙.˙

œ ˙ œ œb œ œ Œ3

Ó œ ˙ œœ

&?

117 Œ ‰ jœ œ œ# œ œ œb œ œ# œ Œ3 3

œœ œœb ˙̇ Ó ‰ Jœœ#‰ œ œ œb œ œœn ‰ œœb Œ ‰œœ ‰ Jœn Œ Ó ‰ Jœ#

‰ œ œ œb Jœ œœ ‰ jœ œ œn œb œ3

Jœ ..œœbn Œ œ Œ ‰ jœœ

&?

120 .˙ œ œ œ œ œ œ œ œ..˙̇ ˙ œ

œ œ œ œ œ œ œ œ ˙

œ ˙ œ˙

..˙̇ jœœ ..œœ œœ!

˙̇ ˙ ˙̇̇

!

&?

124 ...˙̇̇ Œ Œ œœœ œœœ###3

! ˙œœœ œœœ# œœœnbb ˙̇̇# œœœ œ#Ó . ˙

˙̇̇# œ# jœ ...œœœ# œ!

œœœ## ˙̇̇### ˙̇̇Ó . œ# ˙

&?

128 ...˙̇̇ œœœ ÓŒ ‰ .œ#

Ó . ‰ jœœœœ œœœœ ‰ œœœœ ‰ jœœœœ˙ w

‰ œœœœ œœœœjœœœœ ‰ œœœœ œœœœ

jœœœœÓ . Ó ‰ jœ

‰ œœœœjœœœœ Œ Œ ‰ jœœœœ œœœœ

!

7Georgia Ham

125

&?

132 œœœœ ‰ œœœœ ‰ œœœœ Œ œœœœÓ . œ Ó

‰ jœœœœ œœœœ œœœœ œœœœ ‰ œœœœ Œ ‰ jœœœœœ Ó .˙

Œ ˙˙̇̇ œœœœ ˙̇˙˙Œ ‰ .œ .˙

! Œ ‰ jœœœÓ . ‰ jœ ˙.w

&?

136 ˙̇̇ ...˙̇̇ œ œœ ˙ .œ .œ

œ œœ# ŒÓ œ œ œ ˙.w

Œ œ œ œ œ œœœ> ‰ .œ3

.wp f

.œ .œ# ...˙̇̇#

.w#

&?

140 œœœ œœ ˙̇ ..˙̇!

..˙̇ ˙̇ œœ# œœŒ

˙ œ ˙

œœN œœ# Œ œœn ‰ jœœ# Œ!

œœ œœ# œœ œœb œœ ..œœ jœœ4

!

&?

144

œ œ ˙ ˙ œœ œœ#.˙ ˙Ó ‰ jœ Œ ‰

Œ œœ# œœ œœn œœ# œœn œœ#!

Ó œœ- œœ# .Œ œœ#

Œ ‰ Jœ Œ ‰ jœœbb Œ ‰ jœœ

Œ œœ# Œ œœ# œœ œœŒ ‰ jœœ Œ ‰ jœœbb Œ ‰ jœœnn

&?

148 Œ jœœ# .œ œ œ œœ œ#4

.˙!

œœœœ# œœœœ ˙̇̇̇ ....˙̇̇̇‰ jœ ˙ .˙

œœœœ## ˙˙˙ Jœœœ œœœ# œœœ Jœ

œ ˙ jœ œ ‰ œ

œ œ ˙ .˙

Ó . Óœ

8 Georgia Ham

126

&?

152 Ó ‰ jœ œ œ œ œ œbŒ ‰ .œw

œb œ œœ# œ# œœ# œ œn Ó .3 3

! Œœ

Ó œ œ œ œ œ œ œ# œŒ ‰ .œ.˙

œ# œ œ# Œ Ó .

! ˙

&?

156

.˙....˙̇̇̇#

..˙˙# .˙

....˙̇̇̇ œœ# œœ# œ

.˙ Ó .

.˙

jœ ˙̇# œ ..˙̇! ˙

..˙̇ .˙

.˙ œ œ œ œ œ ˙

&?

160 œœ œœ œœ œœ œœœ ...˙̇̇.˙ œ .œ Jœ#

Œ jœœ## œœ Jœœb ‰ œœ J

œœ Œ!

œœ## œœ œœb œœ œœ œœ# Œ4

Ó . ‰ jœ ˙

Œ ‰ jœœ## œœ œœb œœ œœ.wŒ ˙# .˙

&?

164 ..ww

!w jœ œ jœ

.w.˙ .˙œ œœœ ˙̇̇ ‰ jœ œ œ œb œ#

.˙ ..˙˙#.˙

œ ˙ œ ˙!

&?

168 ˙̇̇# œœœ œœ# ..œœjœœ œœ

w

..˙̇# œ œ œ.˙ ‰ Jœ ˙Œ ‰ .œ .˙.w

...www# ˙˙̇ w

...www

..ww

9Georgia Ham

127

“IʼLL BE SEEING YOU” (Irving Kahal and Sammy Fain) PERFORMED BY ANDREW HILL ! from Les Trinitaires (Jazz Friends Productions), 1998

&?

bbb

bbb

‰jœn

rubato ballad

pŒ ...˙˙̇n

œ œœn ...œœœn jœ œ œœ

Dmin9

wwwœœœ

...˙̇̇!

œ œœn œœ ˙̇œ ˙F

Ó .œ jœn˙.œ jœ‰ Jœ œœn ˙̇

&?

bbb

bbb

5

œ. ˙œn Œ Óœœ Œ Ó

" œ- œ œ œœ ˙˙3

˙̇‰ Jœ

.˙

Bb7

p fjœ .œ ˙

Jœœœnn# ..œœb ˙̇

B o7 Cmin7

P...˙̇̇ œ>

www

Fmin13

p F

&?

bbb

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9 œ œ œ œ œ œ Jœ# œ œ œ œn3

3 3wwwnA

C7

Jœ œ œ œ jœ .œ3

Œ . ˙̇̇

Fmin7

jœ . .œ> wwwn œ œ œn œwww

Bb7

&?

bbb

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12 œ œ œn Œ œ œ œ œwww

pœ ‰ jœ œ œn œ

. .. .. .˙̇̇ jœF

Œœ# œ œ œJœ .œ

w‰ .œn

Ebmaj7

F˙ .œ jœ˙ ˙Ó ˙

˙

Dmin7

p

128

&?

bbb

bbb


Cmin7

F.œ Jœ Jœ œ Jœ


F sus F 13

œ œ œ œ˙̇̇ww

Eb Fmin7


3

œ œ ˙ œn œ œ

Bb7 Fmin7

p

&?

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20 ...œœœ œœœ œœœ œœœ œœœ3

‰ jœœ ‰ ! ..jœœ3

˙

jœ .œ œœœ .œ jœ˙̇̇̇ ˙̇.œ œ ˙

Bb7 Gmin11

˙ ˙wn

C


Fmin9 Bb7

w‰ .œ ˙

w

Ebmaj7

p

&?

bbb

bbb

25

wwn .œ jœ> ˙

wn

G 7


‰ œn œ3

Cmin7


œœœ œJœ

œ œJœ

œ œ

Fmin7

Pœœ œœn œœœ œn œ œœ œ

Jœ

C 7

&?

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29 œ œ œ œœ œœ œœn œœ œœ œœ œ œnœœœ ˙ Jœœ œ˙ ˙

Fmin7



G ø 7 Abmin7


G 7 C 7

&?

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32 ˙̇ œœœb œœœ‰ œ jœ ˙̇œn ˙ œ

Fmin7


Ó œœb œœ Œ3

w


œ ..˙̇

Cmin7 ..˙̇n ‰ œ œ3


..˙̇ œœ œœ

F 9


129

&?

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36 œ œ œœ œ jœ ˙3 3

œ Jœ œ œ3˙̇ ˙̇̇̇bn

Fmin7 Gbo7


˙̇Aœœ



Eb Gbmin7


Fmin7 Bb7

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40 . .. .. .˙̇̇ jœœnŒ œ œœ œœnn œ

Ebmaj7

pœœ ..œœb jœœ ..œœ jœœŒ œ œ

Ó‰ .œ

G 7


Fmin7


œ3

&?

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44 œœ œœœ œœœ œœœ Œ Œ .œ œn

˙̇ œœn œœwwA

Œ ‰ Jœn

Bb7

Œ œ œ œ œ# ‰ œ ‰ Jœ,3

œ Œ Œ œœœ

Ebo7

F...œœœ


Œ ‰ jœ œbœ

Ebmaj7 Gbo7

P

&?

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48 œœœ ...œœœ œœœ .œ jœœ œœœn œœœœb œ œ œœbb œœŒ ! œ œ œ

Gmin7


˙̇ œ ‰ œ œœ3

Fmin7



&?

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52

œœbœ œ œn œ# ‰ œ ‰ jœ

3

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Abmin7


Œœ œ .œn

Gmin7 G 7

f.œ jœ˙̇̇

˙̇

Cmin7


œ œ œ œœb

Fmin7 Bb7 Abmin7

P

3I'll Be Seeing You

2nd chorus

130

&?

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56

œœ ! ...jœœœn œœœ œœœœ ! ...

jœœœ œœœ œn

Gmin7 Ebmaj7+




Jœœ ww

Fmin13


C 7

&?

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60 œœœœ ! œ œ œ œ œ œ


Fmin7


œœ Œ œœn > œ œb

3




œ œ jœœ jœn

œnjœ

œ

C 7

&?

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64 œœœ œ œ œ œ œ œ œœ Œ œ œ œn3

3

jœ..œœ œœ œ

Fmin7 Dmin

f pŒ ‰ Jœœ



G 7




w

Cmin7

P

&?

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67 wwwn Œœn œ œ

œn œn œ œn œn œ œn œn

10w

F 9

Œ œœœ œ œn œ œb œ3


Fmin7


Bb7

&?

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70 ‰ œœ œœ Œ ! œn œn œ#3


Gmin7 Gbmin7 œn ‰ Jœb Œ ! rœ œ œ œœœœ Œ œœbb œ

Fmin7

œ ‰ jœ# jœ œ jœœŒ œn ‰ jœ ‰ œ ‰ œ

3 3

Bb13


131

&?

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73

œœn

œn


œ

B o7


.œ ‰œ œn

Cmin7


œ œ œ œn

Fmin7

P

&?

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76 Œ ‰ jœ# ‰ œ œœ ‰ jœ3


..œœn . œœbb .œœ œœ œœ œœŒ ‰ jœ .œ jœ

&?

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79



Ebo7 ten.


Œ jœœ œœ Ó3F

‰ jœ œœœ# œœœ œœn œœ˙̇̇ œœœ œœbb œœ

Cmin7

p f

&?

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82 œœ œœœ œœn œœ œœ œœœ œœ

jœœnn œjœ

Ó . œ œb œ œbŒ œœ œœ œœ ..œœ œ œœJœ .œ

œU ‰ jœœœœb œœn jœ œœœnU Œ œœœbnb

G o7 Gbo7

&?

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85 .œ œœ œœ ..œœ œœ œ œœœ œœ ...œœœb œœœ œœb

Fmin7 Abmin7Db7 .œ Jœ œ œ œ

œ œœ œœœn...œœœn œœ

Gmin7 E o7

P..˙̇ œœb

œœ œ œœœ œ œœb œœ œ3 3

Fmin7 Bb7 Abmin7ten.

..œœjœœœ œœœ œœœ

.œ Jœœ œœ œœ

Eb

f

5I'll Be Seeing You

3rd chorus

132

&?

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89

œn œ œœ œœœb œœ œœœnb3

œœn œœnœn œ œœ# œ

3

G 7 C 7

fœœœ œœœ œœ œœœ œœn œ œ œ œb œ œ

3 6

œ œœjœœ ..œœn˙

Fmin7 C 7

œ œ œn œ œ œ œ œn œ œ6 3

œ œ œœ ‰ Œ œœœbnb œœœb3

Fmin7 Gbmin7

&?

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133

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134

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22 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

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ten.

137

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138

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55

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4 Malachi

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141

APPENDIX BLead Sheets of Compositions

“PENTHOUSE PARTY” BY ANDREW HILL! from So in Love (Fresh Sounds), 1959

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142

&?

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‰ ..œœ ‰ ..œœ

Gb/C ‰ jœœœ œb œ œ œ œ œœœbb‰ ..œœ ‰ ..œœ


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3

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2 "Penthouse Party"

143

“ODE TO VON” BY ANDREW HILL! from Smoke Stack (Blue Note), 1963

&?

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˙ œ œ œ œ3

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F min7

Broken Swing q»approx. 152

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Gsus G 7 ‰ œ jœ .œ jœ‰ œb Jœœœb Jœœœ ....œœœœb

C min7 Ebmin7 œ œ œ œ .œ Jœ3

˙˙˙ ‰ œb ‰ œœœ

&?

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˙ ‰ œœb œœ œœb

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D 7 Db7


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&?

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˙ œ œ œ œ

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3

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G min7

œ œ jœ œn - jœœœœ ˙˙̇ ‰ Jœœœb

144

&?

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www

F min7

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bb

˙ ‰ œœb œœ œœb

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˙ .œjœœbŒ ‰ Jœ .œ ‰

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2 Ode to Von

fine

145

“YELLOW VIOLET” BY ANDREW HILL! from Dance with Death (Blue Note), 1968

&?

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cc

Œ œ œ œ œ œ œw

C min7

Broken Swing

Even e 's œ œ œ œ .œ Jœw

C min/Bbœ œ œ œ œn œ œ˙ ˙

Ab G 7

œ œ ˙ Œ˙ ˙

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&?

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œ œ œ œ Œ œ˙ ˙

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œ.œ. œ œ œ.

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œ. œ. œ œ œ.œ. Œ

3

3

Bbmin7C min7

146

“GEORGIA HAM” BY ANDREW HILL! from But Not Farewell (Blue Note), 1990

& 46 .. ..’ ’ ’ ’ ’ ’E7sus

q = 200

Ó . ..œœ ..œœC ±7/E ..ww ..ww ˙̇ œœ œœ œœ œœ œœ œœ œœ

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œ ..œœ..œœ ..œœb#

G 7 F#7alt

’’’’’’Bmin7

& .. Ó .œ# .œ .œA/E

.˙# ˙ œ œ .œ .œ .˙C ±7/E

.w

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& .wBb (Bb )/A ˙ ˙ ˙ .w .w

& .œ# .œ# .œ .œ.˙ .˙B 13/E

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Even Eighths

E pedal

E pedal

E pedal

147

“MALACHI” BY ANDREW HILL! from Time Lines (Blue Note), 2005

& 44 .. .. ..’’’’Dmin11/A

Rubato q = 80

˙ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙ œ œ ˙ w

& Ó œ œ œ œ œ œ w ˙ ˙ œ œ œ œ ˙ ˙Bb6 B ø7

˙ œ œ

& .. ..˙ ˙G 7 ˙ ˙ wwDmin13/E ˙̇ ˙̇ ˙ ˙E7 œœ œœ ˙̇Aminb6

’’’’D.C. for solos

& ˙̇ ˙̇Dmin ˙̇ ˙̇ œœ œœ ˙̇ ˙̇ ˙̇ ˙̇ œœ œœ ww Ó ..œœjœœ

& œœ œœœœ œœ ww ˙ ˙̇ œœ

œœ œœ œœ ˙̇ ˙̇Bb6 B ø7 ˙̇ Jœ .œ

& ˙̇ ˙̇Dmin/C ˙̇ ˙̇ wwG 7 ˙̇

˙ ˙̇ ˙̇E7

& .. ..œ œ ˙Amin

’ ’ ’ ’

A Aeolian can have any root, creating the following chords:

Dmin/A

LAST TIME

(A Aeolian)

A Aeolian

A Aeolian

A minor, D minor, Fmaj7, G7, Dmin/E or B min7b 5

148

an analysis of selected improvisations by andrew hill …

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