Like a
kaleidoscope shifting its colorful pieces to create a new vision of a
well-known view, pianist/composer Lisa Hilton blends the ever-changing elements
of modern and traditional jazz on her 16th release to date. Kaleidoscope
(available March 11 on Ruby Slippers Productions) is Hilton's answer to viewing
our world and lives with a new perspective.
Although
Hilton has been a bandleader for more than a decade, she is acknowledged mainly
for her compositions and impressionistic touch at the keyboards. Having over
200 compositions and arrangements credited to her name, she pushes away the
idea of being known primarily as a player and shifts her focus to that of a
composer. "My greatest passion is
to compose, as well as to play the piano in new ways," reflects Hilton.
"America has been home to so many great jazz composers in the past, and I
am fascinated by our strong heritage and seek to further that."
The
album features performances by bassist Larry Grenadier, drummer Marcus Gilmore,
and acclaimed tenor saxophonist J.D. Allen on three tracks. "Larry's
always inspiring narrative coupled with Marcus's fresh enthusiastic energy
augmented J.D.'s deep, powerful tone superbly," recalls Hilton.
Kaleidoscope encompasses elements of retro bop and avant-garde as well as
impressionistic and minimalistic ideas throughout its 11 tracks. Hilton's
imaginative compositions draw equally from jazz greats like Thelonious Monk,
Duke Ellington and Count Basie as well as the classical tradition.
Kaleidoscope
opens with the retro groove of "Simmer," a nod to Horace Silver and
the early works of Herbie Hancock, featuring Allen in an entrancing light. The
quartet flourishes in this setting. Allen is granted free rein during
"Midnight Mania," where the band journeys to a manic state of
explosion. Shifting back to the trio setting, the aptly named
"Bach/Basie/Bird Boogie Blues Bop" was written as a response to where
her inspiration comes from and paints a vivid landscape of the history between
classical and jazz compositions. "Composers today must create a body of
work that represents the sound and energy of our lives in this century while
embracing our inheritance," notes Hilton.
Continuing
in the same vein, Hilton channels Bill Evans and Jelly Roll Morton in the
dreamy interpretation of Heyman and Young's "When I Fall in Love"
followed by a cover of Adele's "One and Only," which acts as a
bookend to its predecessor. Hilton considers the song a new romantic standard
of today's generation. The pianist's intimate improvisations come to the
forefront with the title track "Kaleidoscope" and the solo take of
"Stepping Into Paradise."
Ultimately,
Kaleidoscope offers a kind of jazz that simultaneously recalls the history of
an art form while also challenging us to consider an alternative point of view.
"The last few years have been challenging to so many, and I feel we need
to somehow shift our perspective - like a kaleidoscope shifts its pretty
pieces," reflects Hilton.
Hilton
spent her childhood in a small coastal town of central California in a very
academic and musical environment, with family chamber music sessions the norm
at holidays. Having studied classical and twentieth century piano formally from
the age of eight, Hilton left music behind in college to pursue a degree in
art. "In retrospect, the years studying art from impressionism to the
conceptualists has added to my musical 'palette' - my music is now my art. I
use musical elements to paint and later sculpt the sound after I have a
compositional form."
Over the
course of her career, Hilton has played with numerous jazz luminaries including
Nasheet Waits, Christian McBride, Steve Wilson, Jeremy Pelt, and Lewis Nash,
among others. Hilton's post bop style influences extend beyond jazz legends to
include Muddy Waters, Steve Reich, and even punk rock's Green Day.
Committed
to helping students who are often overlooked, Hilton has made time in the last
12 plus years to be involved with students who are blind or visually impaired.
Whether performing for, with, or teaching, Hilton has worked with the Perkins
School for the Blind (Helen Keller's alma mater), The Chicago Lighthouse for
People Who are Blind or Visually Impaired, The Junior Blind for America, Camp Bloomfield
for the Blind and Berklee College of Music's new lab for the visually impaired.
"I believe that helping those with physical disabilities is an important
civil rights issue today," says Hilton.
"We really need to extend to those that are dealing with extra
challenges, and technology today can go a long ways to leveling the playing
field."
Upcoming
Lisa Hilton Performances:
February
26 / Junior Blind of America / Los Angles, CA
April 15
/ Saveille Theater / San Diego, CA
October
20 / The Green Mill / Chicago, IL
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