Andrew Hill - Passing Ships (2LP, 3 sides)
Andrew Hill - Passing Ships (2LP, 3 sides)
Andrew Hill - Passing Ships (2LP, 3 sides)
Andrew Hill - Passing Ships (2LP, 3 sides)
15% off
Andrew Hill - Passing Ships (2LP, 3 sides)
Andrew Hill - Passing Ships (2LP, 3 sides)
Andrew Hill - Passing Ships (2LP, 3 sides)
Andrew Hill - Passing Ships (2LP, 3 sides)

Andrew Hill - Passing Ships (2LP, 3 sides)

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Dizzy Reece - trumpet (solo on A1, A3, B1) [click here to see more vinyl featuring Dizzy Reece]

Woody Shaw - trumpet (solo A2, B2-C2)

Joe Farrell - alto flute, English horn, bass clarinet, soprano saxophone, tenor saxophone

Howard Johnson - bass clarinet, tuba

Robert Northern - french horn

Julian Priester - trombone

Ron Carter - bass [click here to see more vinyl featuring Ron Carter]

Lenny White - drums


2 LP, Gatefold jacket

Original analog Master tape : YES

Heavy Press : 180g

Record color : black

Speed : 33RPM

Size : 12”



Record Press :  RTI

Label :  Blue Note (Tone Poet)

Original Label :  Blue Note

Recorded at Van Gelder Studio, Hackensack, New Jersey on November 7 and 14, 1969

Engineered by Rudy Van Gelder

Produced by Joe Harley

Remastered by Kevin Gray at Cohearent Audio

Originally released in 2003

Reissued in 2021


Tracks :

Side A:

  1. Sideways
  2. Passing Ships
  3. Plantation Bag

Side B:

  1. Noon Tide
  2. The Brown Queen

Side C:

  1. Cascade
  2. Tomorrow

 Side D: Blank


Reviews :

“Now this is more like it. In its Connoisseur Series, Blue Note is making available a completely unreleased Andrew Hill date from 1969. Passing Ships wasn't even included in the Mosaic box because the master tape wasn't found until 2001. The band Hill employed on this session was a nonet, featuring Woody Shaw and Dizzy Reece on trumpets, Joe Farrell on reeds, woodwinds, and English horn, Howard Johnson on tuba and bass clarinet, Ron Carter on bass, Lenny White (on only his second recording date) playing drums, trombonist Julian Priester, and French horn player Bob Northern. The music here is ambitious. Hill's scoring for one reed, two trumpets, and low brass is remarkable for the time. In fact, it isn't until his big-band album of 2002 that he ever ventured into these waters again. The title cut, with its bass clarinet and English horn counterpoint, is almost classical in structure but nearly Malian in melody. While the cut's dynamics are restrained, its color palette -- especially with the lilting muted trumpets playing a mysterious harmonic line -- is flush and royal. "Plantation Bag" is a showcase for Farrell's tough, grooved-out soloing as he blows blue and free in response to Hill's funky, large-spread chord voicings. The trumpets layer one another in the middle of the tune, alternately soloing and punching comp lines through the middle. The Asian melodic figures at the heart of "Noon Tide" add exoticism to one of the most adventurous tunes ever written by Hill. Rhythmically it turns on pulse rhythms that shift and slide methodically as Priester takes the tune's first solo, playing against Hill's left-hand stridency. Of the remaining three selections, "Cascade," with its staggered harmonic architecture that goes against all common wisdom for big-band harmony, is remarkable for its precision and rhythmic invention. Why this isn't going to be out there for the general public for all time is beyond reason. Why punish the artist that way? Conventional wisdom would suggest that something that has been unearthed for the first time in 34 years deserves to be a part of the general catalog. Get it quick.” AllMusic Review by Thom Jurek

“If you need an easy to grasp intro try the title tune (not that the opener 'Sideways' isn't a melodic 'grabber') or for one that's 'melt in your ears' gorgeous, rhythmically, melodically and spatially with Farrell's tenor just about in your lap, try the latin-beat 'Noon Tide' that opens side two. Hill's piano solo will do you in and Carter's bass lines alone are worth the price of admission. Farrell's sensuous, simmering flute lines at the tune's conclusion should finish you off. There's little that's overly cerebral or mathematical about this track or this entire album for that matter, mixed 'in living color' (even the gatefold photos usually in Tone Poet black and white, are in color). Highest recommendation, musically and sonically! “ Michael Fremer, Analog Planet



AllMusic 4,5/5 , Discogs 4.63 / 5 , Michael Fremer : 10/11 Music, 10/11 Sonics

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