Marquis Hill The Way We Play

Marquis Hill
The Way We Play
Concord Jazz

This is first Concord Jazz release for the winner of the 2014 Thelonious Monk Institute Trumpet Competition, and the recording contract was one of the prizes. With his Blacktet, that then included alto saxophonist Christopher McBride, vibraphonist Justin Thomas, drummer Makaya McCraven, and bassist Joshua Ramos. This writer just saw Hill and the Blacktet at the Kennedy Center and only Hill's long-time collaborator remained, but the sleek sound of his group, with its incorporation of hip hop rhythms was very much akin to this marvelous recording.

On this recording, Hill also incorporates a bit of poetry as on previous album (although that was not present in his superb live performance), and the music here is comprised on his own reworking of a number of standards. As on his prior recordings, the brief opening track (The Chicago Bulls opening theme) has the group introduced by vocalist Meagan McNeal, before they launch into the title track, backing some hiphop poetry commentary by poet Harold Green III that segues into a very appealing rendition of Gigi Gryce's "Minority," with the leader's own trumpet, full of controlled, smoldering intensity, as well as Thomas's scintillating vibes, and the rhythm section's very distinct feel (McCraven is central here). Hill's trumpet on Horace Silver's "Moon Rays" certainly justifies comparisons made of him to Clifford Brown (with dashes of Woody Shaw and Freddie Hubbard), while followed by McBride, himself a distinctive young voice, to shine.

On this recording, Washington DC vocalist Christine Dashiell sings "My Foolish Heart" with the rhythm trio adding its own flavor with Thomas's shimmering vibes before the horns enter on this imaginative, exquisite vocal performance with a concise short, skittering muted trumpet break. A beautiful "Polka Dots and Moonbeams," is taken unaccompanied until the closing bar is followed by the Afro-Cuban take on Donald Byrd's "Fly Little Bird Fly," which here also incorporates Green's poetry. Herbie Hancock's "Maiden Voyage," which live was a feature for the rhythm section, here has the clean distinctive horn lines taken at a relaxed pace and enhanced along with Dashiell's tuneful vocalizing, followed by an imaginative "Straight No Chaser," that opens with some gritty saxophone, followed by the leader's own incisive, fiery playing.

The album closes with the Charlie Chaplin ballad "Smile" that opens as a duet with Hill's muted trumpet McCraven (using his hands) before Ramos provides an anchor before getting the spotlight with vibes and sax joining for the closing passages. Hill has updated the jazz ensemble in a manner that one evokes the Clifford Brown-Max Roach Quintet while incorporating the hip-hop laced grooves of today. "The Way We Play" is an auspicious recording full of the distinctive sound of Marquis Hill and the Blacktet.

I received my review copy form Concord Jazz. This review originally appeared in the May-June 2017 Jazz & Blues Report (Issue 372). Here is Marquis Hill at the 2016 Chicago Jazz Festival.

Marquis Hill Modern Flows EP Vol. 1

Chicago trumpeter Marquis Hill has established himself as a musician, composer, arranger and educator prior to winning the 2014 Thelonious Monk International Competition which for that year was focused on the trumpet. A member of the faculty at the University of Illinois at Chicago and a member of the Chicago Jazz Orchestra, winning the Monk competition undoubtedly will lead to greater recognition of his talent, beyond Chicago. Prior to winning the competition, Skiptone Music issued his fourth album, "Modern Flows EP Vol. 1." Listening to this recording, one cannot help but be impressed by all of the facets of his music which brings together a modern jazz approach that incorporates rap and hip-hop grooves in an natural, organic fashion.

On this recording, he is joined by a terrific group including alto saxophonist Christopher McBride; vibraphonist Justin Thomas; acoustic bassist Joshua Ramos; electric bassist Bryan Doherty; and drummer Makaya McCraven. Also present are vocalist Meagan McNeal, and the raps and spoken words from Tumelo Khosa and Keith Winford. One is impressed not simply from the musicianship (listen to Hill and McBride trade lines on "Black Harvest", and which also provides Mr. Thomas with a chance to stretch out), but the scoring and arrangements of the compositions. The raps carry forward their positive message directed towards members of the African diaspora, while the musicians provide backing that frames these forceful, principled statements.

The afore-mentioned "Black Harvest," is a standout track mixing lyricism with a smoldering intensity, while the rhythm section invest the performance with African-inspired groove, On "White Shadow," Hill displays warmth and imagination in a stunning solo. "The Essence" is a lovely instrumental while "I Remember Summer" features Ms. McNeal's lovely vocal as Thomas accompanies her and solos very lyrically, followed by McBride's blues-inflected alto sax. "When We Were Kings" suggests some of Woody Shaw's compositions with Hill soaring at times during his solo. Thomas, Hill and McBride each provide lyrical heat on the briskly paced "Flow," which also has a crisp drum solo from McCraven.

This writer had previously heard and was impressed by Hill's marvelous album "The Poet." "Modern Flows EP Vol. 1" is equally impressive with the performances contained. One looks forward to more from this exceptional musician and composer. Here is a sample of Marquis Hill live.

I received my review copy from a publicist. This review appeared in the September-October Jazz & Blues Report (Issue 363) that can be downloaded at jazz-report.com. For those in the Washington DC area, the Marquis Hill Blacktet on January 22, 2016 in the KC Jazz Club (http://www.kennedy-center.org/calendar/event/MQJCA?promotionno=210381). Here he is performing "Black Harvest."