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| 2.523 Ft
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| 1. | Refuge
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| 2. | New Monastery
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| 3. | Spectrum
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| 4. | Flight 19
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| 5. | Dedication
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| 6. | New Monastary
alternate take, bonus track
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| 7. | Flight 19
alternate take, bonus track
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| 8. | Dedication
alternate take, bonus track
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Jazz / Post-Bop, Avant-Garde Jazz
Recorded: March 21, 1964, Van Gelder Studios, Englewood Cliffs, New Jersey
Andrew Hill - piano
Kenny Dorham - trumpet
Eric Dolphy - alto saxophone, flute, bass clarinet
Joe Henderson - tenor saxophone
Richard Davis - bass
Tony Williams - drums
Producer: Alfred Lion.The Rudy Van Gelder Edition of POINT OF DEPARTURE includes an essay by Bob Blumenthal.
Reissue producer: Michael Cuscuna.
Originally released on Blue Note (4167). Includes liner notes by Nat Hentoff.
Digitally remastered using 24-bit resolution by Rudy Van Gelder (1998, Van Gelder Studio, Englewood Cliffs, New Jersey).
This is part of Blue Note Records "Rudy Van Gelder" Editions series.
Alfred Lion considered Andrew Hill his last major discovery and rightly so. Hill's rich, rhythmic piano and utterly unique compositions stand alone. Point Of Departure is Hill's masterpiece with rich three-horn arrangements for Kenny Dorham, Eric Dolphy and Joe Henderson. Richard Davis and Tony Williams complete this high level ensemble.
Three alternate takes have been added to the original LP.
Trying to describe Andrew Hill's POINT OF DEPARTURE in words is like trying to explain the pictures made by a kaleidoscope--it's impossible to be completely articulate about something so magically unique. Of course, with an assembled cast that includes Kenny Dorham, Eric Dolphy, Joe Henderson, Richard Davis, and Tony Williams all in their creative prime, Hill would have been hard-pressed not to come up with a masterpiece of these proportions. The result is, indeed, a record that is a beacon of the New Thing movement, which was coming to the foreground in the early '60s.
From oddly swinging cuts like "New Monastery" to the intricately mesmerizing "Flight 19," Hill proves to be a both a pianist and composer of incomparable range as he and his legendary sidemen explore the furthest reaches of group improvisation. The churning waltz "Refuge" offers intense ensemble passages that constantly shift colors and textures as Williams drives the group with hurricane-like waves of cymbals. The closing ballad, "Dedication," is a beautifully esoteric piece that, like the kaleidoscope, must be experienced to truly capture its true nature. For most, this will be a DEPARTURE that will take listeners on an indescribable journey.
*Not part of original album.
Pianist and composer Andrew Hill is perhaps known more for this date than any other in his catalogue -- and with good reason. Hill's complex compositions straddled many lines in the early to mid-1960s and crossed over many. Point of Departure, with its all-star lineup (even then), took jazz and wrote a new book on it, excluding nothing. With Eric Dolphy and Joe Henderson on saxophones (Dolphy also played clarinet, bass clarinet, and flute), Richard Davis on bass, Tony Williams on drums, and Kenny Dorham on trumpet, this was a cast created for a jazz fire dance. From the opening moments of "Refuge," with its complex minor mode intro that moves headlong via Hill's large, open chords that flat sevenths, ninths, and even 11ths in their striding to move through the mode, into a wellspring of angular hard bop and minor-key blues. Hill's solo is first and it cooks along in the upper middle register, almost all right hand ministrations, creating with his left a virtual counterpoint for Davis and a skittering wash of notes for Williams. The horn solos in are all from the hard bop book, but Dolphy cuts his close to the bone with an edgy tone. "New Monastery," which some mistake for an avant-garde tune, is actually a rewrite of bop minimalism extended by a diminished minor mode and an intervallic sequence that, while clipped, moves very quickly. Dorham solos to connect the dots of the knotty frontline melody and, in his wake, leaves the space open for Dolphy, who blows edgy, blue, and true into the center, as Hill jumps to create a maelstrom by vamping with augmented and suspended chords. Hill chills it out with gorgeous legato phrasing and a left-hand ostinato that cuts through the murk in the harmony. When Henderson takes his break, he just glides into the chromatically elegant space created by Hill, and it's suddenly a new tune. This disc is full of moments like this. In Hill's compositional world, everything is up for grabs. It just has to be taken a piece at a time, and not by leaving your fingerprints all over everything. In "Dedication," where he takes the piano solo further out melodically than on the rest of the album combined, he does so gradually. You cannot remember his starting point, only that there has been a transformation. This is a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz. ~ Thom Jurek, All Music Guide |
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