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Page Artiste Andrew Hill


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Détails sur le produit

  • CD (16 mars 2007)
  • Nombre de disques: 1
  • Format : Enregistrement original remasterisé
  • Label: Blue Note
  • ASIN : B000NA28AW
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
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COMPULSION !!!!


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Format: CD Achat vérifié
Avec Compulsion, Andrew Hill passe un cap. Le voici maintenant vraiment en plein free-jazz. Jusqu'ici la musique du pianiste restait assez précise sur la forme même si le fond prenait déjà beaucoup de liberté notamment aux travers des solos des différents musiciens de haut calibre présents (cf le très bon Judgment! où le classique Point of Departure).
Ici les compositions sont plus esquissées et ne servent que de prétexte à de longues explorations dont la seule constante est le rythme appuyé, il n'y a d'ailleurs que quatre pièces dont trois dépassant les 10 minutes. Et dès l'ouverture du morceau "Compulsion" on comprend que la rythmique jouera un rôle prédominant sur cet opus. En plus de la batterie de Joe Chambers il y a non pas un mais deux percussionnistes ! A eux trois ils créent les cadences tribales sur "Legacy" et "Limbo" et ajoutent un effet lancinant sur le titre plus reposé "Premonition", sur lequel on peut d'ailleurs entendre en excellent solo de contrebasse à l'archet.
Sur cet album Hill semble également transformé derrière son piano. Exit les lignes bop à la Bud Powell ou les attaques dissonantes et agencés à la Monk, le jeu devient plus évocateur. Clusters en tout genres et attaques sèches, on est bien plus proche de Cecil Taylor où le piano n'est plus un instrument à corde mais une percussion. Peut-être qu'il y a finalement quatre percussionnistes sur ce disque ?
Une oeuvre au final assez unique qui se démarque du reste de la période Blue Note de Andrew Hill et mérite une place parmi les classiques du free jazz.
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Amazon.com: HASH(0x98b6a2b8) étoiles sur 5 12 commentaires
25 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0x98b87888) étoiles sur 5 A genius among us. 5 avril 2007
Par greg taylor - Publié sur Amazon.com
Format: CD Achat vérifié
I agree with most everything in Paul's review and appreciated his suggestion of the comparison between this CD and the Cecil Taylor's Blue Notes. I have been playing Compulsion and Unit Structures on spiral for a day or two now to study the differences. I thank Paul for that. It has been a bit of an education

First off, a few facts: this session was recorded on Oct.8th, 1965 (about six months before Taylor's Unit Structures). The personnel were Hill on piano, Freddie Hubbard on trumpet and flugelhorn, John Gilmore on tenor and bass clarinet (on Limbo), Cecil McBee on bass and Joe Chambers on the drums. To this quintet was added Nadi Qamar on African drums and percussion and Renaud Simmons on congas and percussion. Richard Davis plays bass only on Premonition.

Qamar and Simmons are on every song and they basically provide a dense polyrhythmic background for the core quintet. Their presence on this CD is essential. Hill's music is full of complex meters and counter rhythm. On no other CD of his is this so evident because Simmons, Qamar, McBee and Chambers are providing it all so clearly. This results in many solos where say Gilmore is working with one of the rhythms and Hill is weirdly comping behind him in another rhythm. When I listen to CDs like this or Taylor's from this period I start to wonder how much influence they had on musician/theorists like Steve Coleman.

The soli of Hill, Hubbard, Gilmore and Chambers are brilliant throughout. Hubbard always amazes me when I hear his playing from his period. As I grew up, I knew of Hubbard mostly from his CTI dates (I still love and recommend Straight Life). But his playing in the early and mid-1960s is so powerful. And listen to his ballad skills on the beginning of Premonition. The man was a trumpet god.

I agree with Paul that this may not be the best entry point for the uninitiated in Hill's work. It may, however, become one of those CDs that I play for people when I want to introduce them to the wonders of contemporary jazz. And I use the word contemporary pointedly. For a while, in the sixties and seventies there was a lot of skronking going on in the name of free jazz. But the great players always went back and forth between imposing a structure of some sort on their music and their explorations of total freedom. I would claim that all of the most productive modern jazz players ended up developing various systems of musical structure that organized their playing. The musical advances of someone like Hill or Taylor are still being thought through by today's players. Or even by some of their contemporaries. Anthony Braxton, a few years back, devoted a small chunk of his life to studying Hill's music and then recording two CDs on the CIMP label devoted to Hill's compositions. One genius bowing to another.

I may have been a little harsh toward Blue Note in some of my recent reviews on their CDs. Alfred Lion obviously heard the genius of Andrew Hill from the get go. Between 1963 and 1970, Lion recorded Hill many many times resulting in as accomplished a body of work as anything in the Blue Note vaults. More accurately, as accomplished a body of work that anybody did in any style of music over that period. This CD is one of the great documents of that accomplishment. Snap it up while it is available.
17 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0x98b87d38) étoiles sur 5 Compelled. 5 juin 2007
Par Michael L. Kauffmann - Publié sur Amazon.com
Format: CD
Much has been said about the musical qualities of this album, but I feel like the cultural side of it has been ignored, and considering that the latter informs the former, I thought I might go about offering my two cents on the issue.

Compulsion is by far one of Andrew Hill's more difficult albums. More than just a percussion-heavy blowing session, Compulsion is a concept album with a definite statement to make not only about music, but the culture it belongs to, and the culture it creates. Hill did not set out to create an album to demonstrate that the piano is a percussion instrument, though he uses it as such--it had been done years before him, lessons he learned and absorbed as he endeavored to create an album that displayed the "African kinds of rhythms... field cries... [that are] the basic roots of jazz."

The above quote (and all others) comes from the liner notes for Compulsion, which are excellently written, and in which Andrew Hill is particularly revealing concerning the compositional intent of each song. It seems to be that the only way one can not like this album (aside from just despising music) would be to ignore Hill's own words.

Each track, and the album as a whole, has deep cultural resonance for Hill. "Compulsion" draws on polyrhythmic African percussion as the musicians fluctuate between conversations with one another and statements of their own, drawing a sketch of the creative process, and the compelling need to identify oneself even if it is nothing more than an erratic, improvised screech. "Legacy" is even more indebted to African rhythms, specifically summoning the African past of the African-American experience and drawing it consciously into music.

I consider the final two tracks to be some of the most mature and affirming that Hill has ever composed. Their cultural themes resonate even today and their universal appeal towards understanding oneself transcend any single race or ethnicity. About "Premonition", Hill notes that "before you become aware of the strength and extent of your tradition, you have to have some kind of premonition of what has already transpired as well as of what is to come. I mean `premonition' as indicating not alone a look ahead, but rather a sufficiently revealing look backward so that you can really begin to know what may come."

The album ends with uncertainty on the final track, "Limbo". For Hill, this is a state between decision, without affirmation or condemnation, and where Hill sees his culture stuck. His final statement on this song remains relevant for all cultures 40 years after the album was released: "They'd rather float in space, hoping, than look into their heritage and take strength from that. Again, this has nothing to do with racism. Knowing who you are and what your roots are is positive, healthy knowledge, for, after all, we all seek identity and our future is more secure if we know our past."

As for the musicians on this date, they are all in top form. Hubbard has a real grasp on the individual sound that Hill is striving for, and Gilmore is just awesome. As incredible as his saxophone playing is, it is really the bass clarinet that adds the most color to this session. And, yet again, Joe Chambers is remarkable behind the kit. His compositional bend towards playing informs each stroke while his flawless feel for the difficult time provides solid support for the other players. If one has a particular interest in percussion, the percussion trio of Chambers, Qadar, and Simmons will not disappoint.

Compulsion should be understood as a statement about that past, the present it has resulted in, and the future that it could become. It is Hill's most cohesive album, an album driven from the opening notes by concept and purpose, but it is also one of Hill's most difficult albums, and most rewarding.
14 internautes sur 17 ont trouvé ce commentaire utile 
HASH(0x98b87d8c) étoiles sur 5 Percussion Heavy Avant-Garde 21 mars 2007
Par Rick Greene - Publié sur Amazon.com
Format: CD
I just got my copy today, so I have only been able to listen to it once thus far, but my initial impressions are very favorable. Hill's compositions have a very percussion heavy African influence, due in part to the presence of percussionists Nadi Qamar and Renaud Simmons. This is perhaps Hill's most exploratory and challenging outing during the 60s, reminiscent in some ways of Cecil Taylor's pair of 1966 Blue Note albums, Unit Structures and Conquistador. Hill's core quintet consists of several mainstays of his 60s recording sessions, including Freddie Hubbard on trumpet and fluegelhorn, Joe Chambers on drums and bassist Richard Davis (on one track only). Oh, and did I mention John Gilmore on tenor sax and bass clarinet? Hardcore Hill fans will not be dissapointed, though if you're looking for an entry point into his work, I would suggest starting with something like Black Fire; be sure that you've at least got a good grasp on Point of Departure before you try this one out.
16 internautes sur 21 ont trouvé ce commentaire utile 
HASH(0x98b8b0f0) étoiles sur 5 Lost Masterpiece Found 11 avril 2007
Par Robert E. Lloyd - Publié sur Amazon.com
Format: CD
This is a remarkable set of compositions, perfomed exquisitely by top notch musicians. It is far and away Hill's finest recording. I first bought it on vinyl in 1977 and was astonished at its virtuosity. The opening piece alone is a landmark in the history of jazz. Never has a piano been played to such percussive intensity. You may make reference to Don Pullen, Dave Burrell, Takashi Kako, Sun Ra, and Cecil Taylor, but Andrew Hill's playing on Compulsion goes beyond all of them, a unique accomplishment. If Hill never recorded anything but the title composition alone, he would still be a jazz legend. What is even more amazing is the performance of the other musicians. This is Freddy Hubbard's finest hour, believe it or not. He does not remain inside traditional jazz but rather explores its outer regions in a lengthy, burning solo on the title cut. Joe Chambers drives all the musicians along with his expressive snare. And John Gilmore, surprisingly, is the most bright and subdued of all, though he adds the necessary depth. Those familiar with Hill will note the continuing influence of classical composer Paul Hindemith, but this album transcends in epic form any constrictive musical boundaries. Hill's blocking, angular, tone clustering approach is mesmerizing, alarming, yet subtle still. At the offered price, this is probably the best bargain in jazz. It's a CD that is not to be missed.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x98b8b33c) étoiles sur 5 1 of the "personal bests" for both Andrew Hill and Blue Note 28 mars 2008
Par Pharoah S. Wail - Publié sur Amazon.com
Format: CD
Recorded on 10/8/65, with Andrew Hill - piano, John Gilmore - tenor sax, bass clarinet, Freddie Hubbard - trumpet, fleugelhorn, Cecil McBee - bass, Richard Davis - bass (track 3), Joe Chambers - trap drums, Nadi Qamar - percussion and Renaud Simmons - percussion, I consider this to be one of Hill's 3 best albums, yet for others it's his most controversial or disliked.

"Blues & Swing"... it probably comes down to that phrase. I'm not judging anyone one way or the other here, just stating the likely dividing lines. If you feel like blues & swing are the essential (and necessary) ingredients of anything "jazz" (and if you're a stickler for what is or is not "jazz") then this is not going to be your album. The rhythms and contours of this album tend to feel more like throbbing, tribal vamps...until they're deconstructed, paving the way for new shapes to be born in their absence. If that sounds like it has potential to you, I'd buy the cd. If you're thinking "this doesn't sound like it has the swinging bop-pulse I enjoy so much", you're right, and this will probably disappoint you.

Not so much in the overall shape of the sound of the band as a whole but just in terms of Andrew's own playing, I really wonder how people reacted to this when it first came out. This was recorded (but I don't know when it was first released) before Cecil Taylor's Unit Structures or Conquistador and we know what people think of his playing! Really, folks, Andrew is laying down what was at the time seriously heavy duty, scary piano playing, yet it still feels very inward. He managed to go outside without being in your face. Hearing it today makes one think he was forecasting certain ideas that Marilyn Crispell, Matthew Shipp, etc... would explore further.

With Freddie Hubbard (a guy I can take or leave, depending on the album) giving some of my favorite playing I've heard from him, the percussionists, McBee and Chambers driving the whole thing with the textured forest vamps, Andrew dreamily beating Taylor to the punch and John Gilmore making you wonder how much more blown away by him the world would have been had he been away from Sun Ra (and thusly heard more often by more people), Compulsion ends up being one of the finest "avant garde" Blue Notes ever.

It's outside of the conventional, yes, but if you're someone who "hates free-jazz" because "free-jazz is all shrieking, screaming and scraping", it's not that, either.
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