Andrew Hill - Passing Ships

Label:	Blue Note (Tone Poet)
Genre:	Jazz
Product No.:	ABLU 87401
UPC:	602435148427
Availability:	In Stock
Category:	180 Gram Vinyl Record
No. of Discs:	2

• Description
• Tracks (7)
• Reviews (2)

180-gram double LP

Mastered by Kevin Gray at Cohearent Audio from the original master tape

Plated and pressed at RTI

The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet," on board to curate and supervise a series of reissues from the Blue Note family of labels.

Andrew Hill is one of the most distinctive pianists/composers in jazz. Recorded in 1969, this album sat unreleased until 2003 when it was issued on CD thanks to archivist Michael Cuscuna. Hill penned all compositions for an ensemble featuring Woody Shaw, Dizzy Reece, Julian Priester, Joe Farrell, Howard Johnson, Bob Northern, Ron Carter and Lenny White. This is presented for the first time on vinyl. Blue Note Tone Poet Series features all-analog, remastered 180-gram vinyl in deluxe gatefold packaging.

1. Sideways

2. Passing Ships

3. Plantation Bag

4. Noon Tide

5. The Brown Queen

6. Cascade

7. Tomorrow

Customer Reviews (5.00 Stars) 2 person(s) rated this product.

Another Tone Poet near perfection posted on 06/03/2021 5 Stars Reviewer: Brian VanPelt When I say near perfection, it is essentially perfect except for maybe 2 light surface noises during the whole album. It's evident that these Tone Poet offerings are about as good as it gets. The records are dead silent - far more quiet than the latest one-step record. Everything was perfectly clear. Brass was generally on the left, with some appearing in the middle with the keyboard/piano player. The bass player was somewhere centered in the back and the drummer was always on the right. Each instrument was easily discernible with enough air around them so each could define its own sonic space. Image stability was superb. Occasionally, a flute would join in the middle. The dynamic range was strong - the record is cut fairly loudly - but not the loudest I've heard. If there is a fault with this album, not the record, it's that when the drums are pounded, the original source tape distorted a little. But that was only one tune, wherein it was done twice.

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