Composer/pianist/producer, Lisa Kristine Hilton is back after almost exactly a year later with her follow-up to December 2019’s Chalkboard Destiny that featured her longstanding bandmates: Rudy Royston on drums, and Luques Curtis on bass, as well as the imposing JD Allen on tenor sax. (Note this is the first time that Hilton is making her middle name, Kristine, prominent). This new effort comprised of nine Hilton originals of the ten is entitled More Than Another Day, her 25th album as a leader, this time without Allen but again with Royston and Curtis. They had begun to tour the previous album and had just finished the first half, when the coronavirus forced a halt. Grounded and worried for a relative stuck and sick in Italy, Hilton did what she’s always done: “I have always turned to my creativity in difficult times. I think it’s how I process what is happening in our world.” As for the effects of the lockdown? “I grew up in a small town where it seemed nothing ever happened. Creative projects flourish in “down” times– I think quiet propels creativity.”
The last time out renowned engineer and mixer Al Schmitt called it “his favorite album we’ve worked on,” and he is back mixing this time, working alongside recording engineers Chandler Harrod and Karl Wingate who were not on the last project although Gain Lurssen and Reuben Cohen return in the role of mastering. Hilton has a clear vision of how she wants to sound as she beautifully plays the Steinway. Lisa admits to echoes of classical traditions, and twentieth-century modernists as well as classic American jazz greats such as Duke Ellington, Thelonious Monk, and Horace Silver, as well as blues heroes Muddy Waters and Robert Johnson. The band never rehearses; she introduces the composition and then they play, so like the best jazz, it all unfolds in the moment. Hilton’s piano sound is lush, delicate, and highly melodic, best evidenced by the title track. Her nine compositions traverse several moods, tempos, and harmonic depth.
The trio begins with the title track showcasing her shimmering piano style, a penchant for Horace Silver soul-jazz chords, and the tight interplay of rhythm mates. Seamlessly moving through different rhythmic ideas, genres and eras, Royston and Curtis provide stellar additions to Hilton’s nine compositions and one cover tune. The trio powers through the upbeat and swinging “Retro Road Trip.” (Don’t we all long for a real one these days?) “Secret Beach,” “Karma Chaos” and Cole Porter’s “I’ve Got You Under My Skin,” all exude refreshing Latin ideas. “Blues & Beauty” puts these pandemic days into brilliant context expressing both the regret and serenity many of us feel. The ballads,” No Sleep Until…,” “Today I Looked At Love,” and “So This Is Love” give the album her by now signature rich balance of emotions and harmonic colors as well, the latter among one of the most elegantly gorgeous tunes this writer has heard recently.
If you listen carefully, you can pick up Hilton’s range of style influences, not only the aforementioned Silver but Antonio Carlos Jobim, Count Basie, and Bill Evans, especially on the ballads.
Hilton originally taught herself to play piano with a colored keyboard guide, writing her first simple songs around six years, before beginning studies in classical and twentieth-century music starting at the age of eight. In college, she switched majors from music and graduated instead with a degree in art. Hilton’s art background informs her compositions: she describes “painting” compositions using improvisation, and harmony or “sculpting” with constantly changing rhythmic ideas from different cultures. Like the best composers her compositions can set various moods but throughout she plays straight-ahead, eminently listenable jazz, played with both energy and finesse. You may find it worthwhile to explore Hilton’s catalog too and even if you don’t wade too far into it, by all means, check out Chalkboard Destiny as Allen’s playing is most impressive and adds a different feel to this same trio.
Not only is Hilton a talented musician but a caring person as well. Hilton often speaks of the profound imbalance of jazz and classical music presented in great concert halls, opera theaters and clubs where the vast majority of music heard is written by male composers: “The music created by women should also be performed, to be enjoyed by audiences around the world.” Hilton also constantly works with students who are visually disabled across the US stating: “Music should be for everyone.” Her accessible music is designed to make us feel good and bring smiles. Bask in it.
Photo by Aaron Regan
