John Hebert

Andrew Hill - Time Lines (2006) {Blue Note}
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© 2006 Blue Note Records | 0946 3 55533 2 1
Jazz / Modern Creative / Post Bop / Piano

Andrew Hill has been, in the gentlest of cases, an idiosyncratic player, composer, and bandleader. But often, reviews of his work have been quite strident and refer to him as an iconoclast. That's okay; some critics thought of Monk and Herbie Nichols that way, too. Time Lines has Hill back – for the third time in his long career – with Blue Note, the label that gave birth to his enduring classics like Black Fire and Judgment!. But Hill is still every bit the creative and technically gifted musician he was back in the day; perhaps more so. His band features seasoned veteran Charles Tolliver on trumpet, saxophonist Greg Tardy (who also triples on clarinet and bass clarinet, and beautifully, to say the least), and a rhythm section composed of bassist John Herbert and drummer Eric McPherson.

Pianist Uri Caine holds a unique distinction, known the world over as a stellar jazz pianist, but a critics' darling for his genre-blind reworkings of classical music. His takes on the work of Gustav Mahler, Johann Sebastian Bach, Wolfgang Amadeus Mozart and Richard Wagner have become modern classics which straddle several musical worlds, but Caine's is no one-trick pony. When he isn't busy turning classical music history on its head, his restless artistic curiosity has taken him to a variety of other realms. The pianist tipped his hat to Thelonious Monk and Herbie Hancock, with album-length salutes to each, took a stroll down Tin Pan Alley (Winter & Winter, 1999), visited Brazilian music via Rio (Winter & Winter, 2001), explored the possibilities within the solo piano context on Solitaire (Winter & Winter, 2001), and tackled fusion in his own personal way with his Bedrock band.

Uri Caine - The Othello Syndrome (2008) {Winter & Winter 910 135-2}
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© 2008 Winter & Winter | 910 135-2
Jazz / Classical / Avant-Garde Jazz / Post Bop / Modern Creative / Keyboards

Keyboardist Uri Caine has previously explored the music of Bach, Mozart, Wagner, and Beethoven, so it is hardly surprising that he continues to use classical composers as a source of inspiration for his improvisations. This outing draws on excerpts from Giuseppe Verdi's opera Otello, with the pianist incorporating his usual wild arrangements. Caine is obviously very familiar with the music, but willing to take chances, as in his playful setting of "Fire Song" and a klezmer-like setting of "Drinking Song."