When Rossini was asked for his opinion of Wagner, he replied, “Wagner has some beautiful moments, but many boring hours.” At first hearing Andrew Hill’s latest, recorded because he won the Jazzpar Prize, I was tempted to be equally flip about the CD. But there’s an inherent danger in commenting on first hearings, particularly when there’s so much going on in the music. There is always a gap between innovation and acceptance. Think about the 1913 premiere of Stravinsky’s “The Rite of Spring.” Fistfights broke out at the Paris concert hall; today its language sounds pretty tame. The language of this recording is so highly personal, so mystical, it requires careful, repeated listening until the fog lifts.
Brian McKnight has become the latest in a series of after-hours-style R&B heroes, matinee idols with decent voices who parlay suggestiveness, romantic lyrics, and sex appeal into sizable popularity among female fans. McKnight's strength is his coy delivery and savvy selection of material; he never does any tune that forces him to stretch the upper or lower register, nor does he experiment much with reggae, hip-hop, or cutting-edge production.