Early life

Hill was born in Chicago, Illinois, to William and Hattie Hill.^{[note 1][3]} He had a brother, Robert, who was a singer and classical violin player.^[4] Hill took up the piano at the age of thirteen, and was encouraged by Earl Hines. As a child, he attended the University of Chicago Experimental School.^[5] He was referred by jazz composer Bill Russo to Paul Hindemith, with whom he studied informally until 1952.

While a teenager, he performed in rhythm and blues bands and with touring jazz musicians, including Charlie Parker and Miles Davis. Hill recalls some of his experience as a youngster, during a 1964 interview with Leonard Feather: "I started out in music as a boy soprano, singing and playing the accordion, and tap dancing. I had a little act and made quite a few of the talent shows around town from 1943 until 1947. I won turkeys at two Thanksgiving parties at the Regal Theatre," parties sponsored by the newspaper Chicago Defender, which Hill coincidentally used to sell on the streets.^[4]

Career

In 1950, Hill learned his first blues changes on the piano from the saxophonist Pat Patrick and in 1953, he played his first professional job as a musician, with Paul Williams' band. "At that time", he recalls, "I was playing baritone sax as well as piano."^[6] During the next few years, the piano gigs brought him into contact with many musicians, some of whom became relevant influences: Joe Segal and Barry Harris, among others. In 1961, after travelling as an accompanist for Dinah Washington, the young pianist settled in New York City in 1961,^[2] where he worked for Johnny Hartman and Al Hibbler, then briefly moved to Los Angeles County, where he worked with Roland Kirk's quartet and at the jazz club Lighthouse Café, in Hermosa Beach.

Hill first recorded as a sideman in 1954, but his reputation was made by his Blue Note recordings as leader from 1963 to 1970, which featured several other important post-bop musicians including Joe Chambers, Richard Davis, Eric Dolphy, Bobby Hutcherson, Joe Henderson, Freddie Hubbard, Elvin Jones, Woody Shaw, Tony Williams, and John Gilmore. Hill also played on albums by Henderson, Hutcherson, and Hank Mobley. His compositions accounted for three of the five pieces on Bobby Hutcherson's Dialogue album.^[7]

Hill rarely worked as a sideman after the 1960s, preferring to play his own compositions. This may have limited his public exposure. He later taught in California and held a tenure-track faculty appointment at Portland State University from 1989 to 1996. While at PSU, he established a Summer Jazz Intensive program, in addition to performing, conducting workshops and attending residencies at Wesleyan University, the University of Michigan, the University of Toronto, Harvard University, Bennington College and other schools.^[8]

Hill's album Dusk was selected best album of 2001 by both DownBeat and JazzTimes; and in 2003, Hill received the Jazzpar Prize.^[2] Hill's earlier work also received renewed attention as a result of the belated release of several unissued sessions recorded in the 1960s for Blue Note, notably the ambitious large-group date Passing Ships. In 2004, he appeared on SOLOS: The Jazz Sessions. As a consequence of his renewed prominence, a new Blue Note album titled Time Lines was released on February 21, 2006.

His final public performance was on March 29, 2007, at Trinity Church in New York City.

As leader

Source:^[13]

Compilations

• Mosaic Select 16: Andrew Hill (Mosaic)
• Mosaic Select 23: Andrew Hill-Solo (Mosaic)
• The Complete Blue Note Andrew Hill Sessions (1963-66) (Mosaic)^[14]
• One for One (Blue Note, 1975)

As sideman

With Walt Dickerson

• To My Queen (New Jazz, 1963) – rec. 1962

With Roland Kirk

• Domino (Mercury, 1962)

With Jimmy Woods

• Conflict (Contemporary, 1963)

With Hank Mobley

• No Room for Squares (Blue Note, 1964) – rec. 1963

With Joe Henderson

• Our Thing (Blue Note, 1964) – rec. 1963

With Bobby Hutcherson

• Dialogue (Blue Note, 1965)

With Russel Baba

• Earth Prayer (Ruda Music, 1992)

With Reggie Workman

• Summit Conference (Postcards, 1994) – rec. 1993

With Greg Osby

• The Invisible Hand (Blue Note, 2000) – rec. 1999