Andrew Hill: Nefertiti (1976) East Wind/ Inner City



Selection 1: Nefertiti (Hill) 320kbps MP3

Selection 2: Mudflower (Hill) 320 kbps MP3


Andrew Hill (piano) Richard Davis (bass) Roger Blank (drums) recorded January 25, 1976 recording engineer David Baker, recording location unknown, “Roger Blank” (a pseudonym?) unknown.


Hill’s name cropped up in a recent conversation with a music executive. “Name one artist which every jazz fan knows but who is almost entirely unknown to the wider public. Andrew Hill. We like Hill here on the listening sofa at LJC. Having stumbled on his fertile ’70s work with the previous title “Invitation”, the theme continues here with more Hill-walking.

All About Jazz says of Hill’s Nefertiti:

If you have most of Hill’s Blue Note albums and some of his more recent output and feel that is most of what is worth hearing, are you ever wrong…

…the band plays together with stunning creativity and empathy. Hill has great energy throughout and a beautifully fat, full tone… Davis’ gorgeously imaginative arco work on “Nefertiti” and Blank’s anomalous drum pattern on “Mudflower” …not only highly entertaining, but continue to fascinate with repeated listenings.

ljc-thinks-some-more-Big-SpecsLJC says: “repeated listening” – that’s the point with Hill, you don’t get it in a onesy. It’s not one record,  it is many records. There is the one you first hear, never knowing which way it is going to go. The autonomy of the other members of the trio means you get their record as well as Hill’s, and you don’t know which way they are going to go either. Once familiarity has set in, new patterns move into the foreground.

It is the formula that isn’t a formula and which makes fresh stimulating thoughtful music, created at a time when music started at the feet and rarely rose above the waistline. It is intelligent music but not “intellectual” music like some Anthony Braxton – no eight page supplement with diagrams necessary to explain why it is so clever. Confession: if I struggle with Cecil Taylor, that’s as nothing compared with Braxton (Cue outrage, philistine! a towering genius. The Friends of Anthony Braxton Appreciation Circle would like you to step outside into the car park, teach you a little respect. Yeah yeah) More anon.


Produced for the short-lived Japanese East Wind Music label (1974-7). Striking cover which mixes shades of maroon, burnt orange and other-worldly cyan, an intoxicating mix, which makes up for Inner City Records baby-poo coloured label. (OK how else would you describe it? No Pantone numbers, that’s cheating) The title font is also interesting one for any fontaholics out there, a daggered serif.

Tonally quite rich, not quite the dynamic range of Hill’s previous Steeplechase title, but still very acceptable for mid-’70s Americana, and enough to carry the music..



Collector’s Corner

Watch out, watch out, there are a lot of Nefertiti‘s about. There’s a Miles Davis one, and in a quite different vein, a Cecil Taylor one. The Taylor has perhaps the most striking design of the three, each gets a slot here of its own:






The Davis cover is as per usual for Miles, a moody selfie:

davis nefertiti


What is it with this chick Nefertiti that so inspires musicians?

Philip Glass’s Akhnaten  is on my shelf.



Talking Point: The “Avant Garde”

(Nothing to do with Hill’s Nefertiti, which is Terra Firma in my view). I get the occasional mail for appearing to disrespect Cecil Taylor, who the Americans unaccountably pronounce, Ceecil. This is unfair, since I make it abundantly clear the fault if anything is with me. The Gary Giddins Youtube on Cecil Taylor is very thought provoking and insightful, must watch,  though it still leaves me with that oxymoronic sentiment when I play Taylor that “this music is a lot better than it sounds”.  I have just bought a copy of Taylor’s Nuits a Fondation Maeght Volume 1, which is an astonishing sounding French pressing on the Shandar label (Sam Fisher Rivers!), appreciation of which was enhanced by a recent visit to this remarkable alfresco art gallery near St Paul de Vencefondation-maeght-LJC, France.

You get a sense of the music in an art gallery setting, a little like Mingus in Jazz Portraits, strangely, a sense of place can make a difference to how you approach a piece of music.

But Anthony Braxton however I simply can not fathom. Perhaps that’s my loss, but I don’t get him. What am I missing?


So I have a question for you.

I was delighted with the response to submitting jazz  favourites and essentials. That’s easy. However, who are your nominations for the opposite:  “artists” you have found totally unlistenable or unfathomable. Any reason will do, could be avant garde, could be, well anything. Late period Coltrane? (And you call yourself a “jazz fan”?)  Ayler? Sun Ra (blasphemy!). Alice Coltrane? Mr Braxton? Have courage, name names, albums even, you are among friends. Some will disagree, it’s only natural, but we need to get this out in the open. When I have enough nominations, I will go to a poll. Show of hands wins.


51 thoughts on “Andrew Hill: Nefertiti (1976) East Wind/ Inner City

  1. Dear LJC, thanks for the website and the thoughtful contributions of the posts-replies. .. Started collecting vinyl only 10 months ago – only jazz. No ‘first pressings craze’ yet 🙂 just over a meter of enjoyable jazz history (from ragtime to the Dutch New Cool Collective, with ‘everything’ inbetween).
    I had Andrew Hill’s Black Fire on CD many years, and it stood out.. Just last weekend a clean EW label copy of Hill’s Nefertiti ended up near my turntable, here in The Netherlands. Today ON the player, and really enjoyed listening to it! thanks for the post and comments.

  2. My story has a happy ending. I was able to get my hands on a real stereo Blue Note “Black Fire,” one of my all time favorite Hill sessions.The record sounds almost new. The sound quality is simply breathtaking. (I was cheated out of the original slip case by some artful wording. But I’m so happy with the sound that it’s not an issue. I probably would have paid another hundred dollars if it had the original case.) Oh, the sound–what bliss! Every instrument is clear as glass. The drums, cymbals and piano are up front. Yes, this was worth the wait. Now I understand the difference between a genuine Blue Note and a re-pressing.

  3. I made two blunders this week and both late at night when I was tired. I fell for a very well worded ad that made the record appear to be an original Blue Note. What did I forget? The “ears,” of course. Others must have fell for the same thing because I ended up paying close to $100 for a near mint Liberty. Oh, those “ears,” how those sellers weave around the issue by simply leaving out information. My disadvantage is also the fact that I’m looking for stereo Blue Notes. There are simply some with numbers too high to even be mono Blue Notes. I’ve noticed some Liberty records being bid up over $100. Is it all buyer ignorance or is the Liberty Label gaining value? In this jazz buying mania, It’s difficult to tell. What do others think?

    I also bought a duplicate of a record I already had in my collection. It was a very inexpensive, later Blue Note. But I think I would have noticed if I weren’t so tired. My new rule is: No more late night bids.

    • We’ve all done it, bought one twice, though serendipitously sometimes, as I found the duplicate turned out to be a mono to complement the stereo I already owned, so there can be a silver lining.

      As for Liberty, provided you haven’t paid a monster premium price, those earless 1966 Liberty/NY label pressings are generally pretty fine and rarely disappoint. in the sonic department

      Sellers who don’t mention the ear are always laying a trap. I even saw an example where they described the record as having “original Blue Note labels” Well, the labels were original, old stock, true, just the record wasn’t “- he never claimed it was – just the labels. Very cute, you have to admire the wordsmith’s art.

      Problem starts when a lot of people start bidding on a record in the same mistaken belief that its an original.

      Late nights are for listening, not bidding. Been there too.

  4. I just wanted to mention that after listening to part of “Nefertiti” on YouTube, I had to get a copy of the album. Fortune must be with me, because I immediately found the “Inner City” pressing, in near mint condition, for sale at a very reasonable price. I also found another Hill album from the 70’s called “Spiral” on the Arista Freedom label. I listened to some of it on YouTube and was impressed. Someone made the comment in the YouTube comment area that he can’t believe such brilliant compositions were just sitting around all these years.

    I’m grateful that Mosaic was astute enough to recognize Hill’s brilliance and produce a box set of his late work.

  5. Update: I found a near mint “Blue Note” first pressing of “Dance With Death,” for a very reasonable price, right after I made my first post. It probably doesn’t have fantastic sound quality but sometimes I’m surprised by some later “Blue Notes.”

  6. I’ve been totally absorbed with Andrew Hill’s “Dance With Death.” As you mentioned, it took a few listening sessions to fully appreciate its mystical beauty. To my surprise, a friend, whom I considered most knowledgeable about jazz, never heard of the album.

    While happy with the CD, I can’t find the first vinyl pressing that was supposedly released in 1980. But thank you for bringing attention to this great artist. This has to be the best jazz site on the internet.

    • Seth, It was a Liberty/UA ‘Blue Note classic’ series in 1980 and in that format isn’t necessarily worth hunting out (apart from it being a great record, of course). There is a reissue on the Free ch label Heavenly Sweetness, I think, and although I don’t have that version I do have several other titles on HS and to my (admittedly increasingly elderly ears) they sound fine and look good.

      • Thanks for the information. I have seen some of the Heavenly Sweetness pressings around my apartment. I would have to play one again to re-assess (my increasingly elderly memory) its sound quality. I could be wrong but I found it similar to most of the new audiophile pressings. Now that I’ll have the very late 1980 Blue Note, I’ll compare them.

        Since an original Blue Note is impossible, I would love to hear the album on an SA-CD. I was pleasantly surprised by an SA-CD copy of Coltrane’s “A Love Supreme.” I was even more surprised when RVG was listed as the person who mastered the album into SA-CD format. (Van Gelder’s ability to use the latest digital technology with more success than most sound engineers half his age, is the mark of a genius, IMHO.) It has those wonderful Van Gelder dynamics that give one the feeling of being at a live concert. (For those interested, the number is 314 589 596-2.)

  7. LMAO LJC!! We all know you get kick backs from sales on every record you post. I have never seen this Lp sell for more than $15 bucks. EVER!!!! and now its currently shattering all previous prices on Ebay. HAHAHAHHA. Thank god I got mine on the very low market side or PRE LJC..:D

    • I like to watch auctions of some of the more obscure titles talked about on here and watch the prices rise. That is unless it’s been something I’ve been trying to track down! 😉

      • That last auctions sold for $48. LOL. It’ll be a cold day in hell if I ever paid that amount for an inner city record. That’s 3 times the amount for Eric Dolphy’s Stockholm sessions Lp. Insanity.

  8. I’m on the point of giving up with Sun Ra’s ‘Space is the Place’ although I really enjoyed a live performance at Ronnie Scott’s years ago.
    At the same venue, Cecil Taylor took two hours of my life that I will never get back. After that bite I’m twice shy of returning to his work.
    I’ve persisted with Bobby Hutcherson as I love his contribution to Joe Henderson’s ‘Mode For Joe’, most recently putting him head to head against the entire city of Birmingham. A strange but true tale is told at It turned out to be a dull score-draw.
    Happy International Jazz Day to everyone by the way.

  9. Returning to this to fan the flames a bit on artists we can’t connect with…

    Freddie Hubbard — on his own leader dates. Too hot, too bright, too damn loud.

    Anything with singing. Anything. But especially Billie Holiday — that nasal whine is like fingernails on blackboards.

    Drummers! Any damned drummer that can’t or won’t play less and play quietly. Roy Haynes; Max Roach, step forward.

    Puzzling reputation: Peter Brotzmann. I understand the attraction for high-energy, flamethrower intensity sax, and I recognise Brotz’s importance to the European free jazz scene… But what I struggle with is that he does what he always does — and consequently (to my ears at any rate) almost always sounds the same. Conversely (and very differently, I know) Braxton is a hugely diverse player and that is part of what fascinates about him…

    • ah but when those drummers lead their own dates, it’s great! yes? yes?

      it’s the same reason keith moon was so great for the who!

      and i agree about most singing, but i like the singers who can blend like an instrument: jeanne lee, leon thomas, etc.

  10. Ah, Nefertiti — a great choice, an excellent Hill record. You posed more questions than I can easily remember, LJC (or be bothered to scroll back up to find on this dopey iPad), but here’s some answers to those I recall. The cover: you can’t name the colours but you don’t need to — you can almost taste ’em. And something I would be prepared to stake money on — it’s a print from a Kodachrome frame, almost certainly.

    Braxton. Not heel’s a strange thing. As I write I’m listening to one of Braxton’s heroes — Paul Desmond playing super-cool chamber jazz with mulligan on BLUES IN TIME. Make sense? No, of course it doesn’t — nothing could be further one would think from Braxton’s cerebral jazz. But I have probably bought more records in recent years than by any other single artist and what I have realised is this. Don’t try and fathom what Braxton says about his music. He has — sadly — developed the opaque language/jargon of the academic. Instead, just glory in the sound he makes. There’s barely a dull record on Black Saint, for instance — and few sounds more thrilling than Braxton letting rip on contrabass sax. Marvellous stuff.

  11. Generally I think free jazz works best in a live environment, a lot of it is very difficult to listen to on record with one or two notable exceptions.

    As for dislikes top of the list are so called “Jazz Singers” , its an oxymoron, Jazz aint singing. When people tell me they like Jazz especially the likes of Michael Buble I run for the door.

    Others I have tried and just can’t get in to are: Bill Evans – all to slow and dreary, Sonny Rollins – bad tunes, I’m An Old Cowhand!!, I do however like Alfie and East Broadway Rundown. Ellington I just don’t get the big orchestral stuff, I like Jack The Bear, the Trio with Roach and Mingus, my favourite Ellington records are all by Johny Hodges. Stan Getz latin stuff is a crime and should be banned. The final minger is My Fair Lady by Shelly Manne the piano player is Andre Previn, its the pits.

    Otherwise keeping an open mind.

    Jack Forshort

    • uau! not a single word of comment for Jack?
      I’ve waited one day in trying to understand if it was a joke or not.
      with maximum respect for anyone’s tastes, here we could argue a lot: got no time now ’cause I’m traveling but I’ll come back.
      Anyone before me?

      • What part did you think was a joke. The only part that is, is that my granddads name was John but everyone called him Jack for short.

        The rest is my honest opinion. Don’t get me wrong I like a lot of singers, its the label “Jazz Singer” as used by the media. Today is International Jazz Day the BBC Breakfast show gave us Curtis Stigers!!

    • “Jazz ain’t singing” seems a bold assertion, but given that about 90 per cent of my own jazz collection is strictly instrumental, it’s hard for me to object. I wouldn’t go to the length of comparing Billie Holiday’s sound to “fingernails on blackboards” (as does Alun Severn above) but I must admit that I have listened even to Nat King Cole and Frank Sinatra more often than to Billie.

      “Alfie”… yes, I love that Oliver Nelson sound.

      Duke Ellington’s big orchestral stuff includes some of the greatest sounds I have ever heard – but then there are those dozens, perhaps hundreds of tracks of the kind that André Hodeir once called “insipid”. Among the live stuff, I really like “The Great Paris Concert” from 1963, and parts of the 1970 London performance (just listen to “4:30 Blues” – seemingly the simplest of arrangements, but how in the world did those cats manage to create that sound?).

      I like Bill Evans most when he’s in the company of Miles and/or Cannonball.

      What do I hate? I hate the Concord label.

      • One of the best Ellingtons is with Ella at the Cote D’Azure, its especially good on the Mosaic issue.

        Evans with Miles is OK, but Miles can make anyone shine.

        • Oh, for sure! Duke & Ella at The Cote D’Azure, I own this album too (the Verve LP). “It don’t mean a thing…” – gorgeous.

          • Jazz is just much singing as anything else. From the way Louis Armstrong breathed new life into music with his scat singing to the way Billie Holiday influenced Frank Sinatra and countless others. Sometimes it’s difficult to distinguish between Billie’s fine swinging voice and Lester Young’s fine swinging sax.
            For me Billie is one of the great artists in music – period. If you don’t like singing in jazz I think that must be as the result of some sort of trauma or some other psychological condition – really – I’m as astonished as that by people’s dislike of singing.If you don’t like Billie there’s Sarah Vaughan or Ella Fitzgerald.
            Some of the Duke’s finest music is the stuff he did with singing.
            Jazz singer is NOT an oxymoron IMO – the history of the music is evidence of that.

            • Andy, how could anyone argue against Ella or Sarah!

              Vocal jazz is real jazz, no doubt. On the other hand, the way most jazz musicians use their instruments is in itself so tremendously “vocal” that very often real singing (let alone singing silly lyrics) becomes redundant. That’s why some jazz artists have been reluctant to record with singers.

              By the way: The above cited André Hodeir, who wrote one of the profoundest and most thrilling books on jazz, did not mention Billie Holiday at all. Just for the record.

              • Hmmm… I agree to an extent but to me singing will never be redundant – it’s one of the purest and most original forms of human musical expression. And with the human voice come lyrics, granted some are silly but others, such as Billie Holiday’s Strange Fruit, are culturally and emotionally powerful in a way that purely instrumental music cannot be.When Sarah Vaughan sings April in Paris with Clifford Brown lyrics, voice and horns meld in perfect unison.

                • I have listened to “Strange Fruit” four or five times in my life – I got its message, I perfectly agree with it, but that’s about it. It never touches me the way Mahalia Jackson or Big Bill Broonzy does. This, to me, is what “black” vocal music is all about. And of course, you’re so right about Sarah!

  12. Thanks for this post LJC, Hill is one of my all-time favourite jazzmen.

    As for Braxton, the late 60’s and 70’s were a time of huge experimentation in many artistic fields, painting, writing and music, artists pushing the boundaries of what was possible. Braxton had a lot in common with leading avant-garde classical composers of the time, perhaps his problem was that he called his music jazz.

    However, he didn’t just produce atonal, jarring noise, he did move on to more lyrical work. His ‘Six Monk’s Compositions’ (1987) and ‘Eight Tristano Compositions’ (1989) are very fine post-bop records that swing as well as anyone. The great bass player Dave Holland was Braxton’s sideman, and produced his own experimental records, he too came through the other side having discovered abstract music was an interesting but ultimately arid cul-de-sac. I’m sure the same would have happened to Coltrane had he lived.

    Give me Braxton over commercial careerists like Marsalis anytime.

  13. Jimmy Giuffre! I’ve tried and tried but I just don’t get his cool cerebral ensemble playing. I’ve found ways into Cecil Taylor and Braxton – I even like Derek Bailey and Evan Parker but Giuffre I can’t seem to get my head round.

    • Andy, Giuffre is a joy once you get on his wavelength. What I especially like is the contrast between his folksy, on-the-porch, Americana-style recordings of the 50s (Seven Pieces, Jimmy Giuffre 3, Western Suite etc) and the later Europeanised work with the Giuffre/Bley/Swallow trio. ECM have just reissued Fusion and Thesis in a gorgeous double-LP set (and of course it is the only non-ECM recording that label has ever reissued). I grant you that one does really need to be in the mood for Giuffre, however.

      • Right Alun. I have risen to your challenge and picked up what appears to be an original DG pressing of Fusion on Verve (£4! found in the cheap bins of my LRS). It has the same weird cross symbol in the deadwax as one of my Prestige pressings.
        Anywho, once the nipper’s away to bed I’m going to check it out.Although I’ve never got my head round Bley and Giuffre I’m a big fan of Swallow’s playing so at least there’s that for starters.

        • Good man, Andy. Well, even if you hate it, it’s worth four quid of anybody’s money. Come on — try IN THE MORNINGS OUT THERE (which becomes craftily blues-ish). Lovely. And beautifully recorded. I hope you like it.

  14. Forgot to mention – I also agree with Gregory the Fish’s assessment of Wynton.

    Wynton is a extremely talented trumpet player, and his classical recordings were phenomenal. Wish I could play like that.

    But his jazz just does not touch my soul. It’s too formulaic. He did a few things with Art Blakey that were not bad. But that’s about it for me.

    I think the knock on him is and has been his unwarranted criticism of Miles Davis. I mean, how could a young upstart like Wynton criticize Miles. Wynton is from New Orleans, his dad is a fine jazz piano player, composer and teacher, and Wynton couldn’t “consistently” swing from the heart if his life depended on it. At least I have not heard him do it.

    Wynton is good for the Lincoln Center and as a mentor for the kids. I just can’t personally sit down to relax and enjoy what he is saying with his music.

  15. Andrew Hill is a class act. Thanks LJC for posting this album. I have a few of his albums, but not this one. I will be on the look out for this one on eBay.

    As for Cecil and Anthony. I believe both those guys smoked to much weed back in the day. During my college days as a music major at City College in Washington DC, I actually knew guys who attempted the Cecil Taylor and Anthony Braxton approach to music. Me and my fellow students/friends thought they were just strange, not tuned into some sort of outer body or outer mind experience.

    And I echo the same “why” attitude Gregory the Fish has about Dave Brubeck’s “Take Five.” I mean we played that tune in grade school without having to see a single note on a chart.

    I think Coltrane loss his way in the end as well. Just my personal opinion. And please don’t get me wrong,I love the man’s music and spirit, but some of that transcendental stuff he did with Alice loss me, and I was high on something when I first heard it. I have his Ascension album,but don’t listen to it. I got rid of my Alice Coltrane stuff when I got sober back in the 1974.

    Webster Young once told me during a lesson, it’s gotta swing. And I believe Charlie Parker said, don’t forget the blues.

    Google Webster Young for reference if interested. He absolutely loved Miles Davis. He use to tell me Miles gave him his first horn. A sweet spirit, Webb was.

      • Yeah, I am having second thoughts about laying criticism on these musicians. After reading what I wrote, I felt bad. Some of what they write and play is not my cup of tea. But So What – pun intended.

        • I don’t like late period Coltrane either (essentially everything after Crescent and A Love Supreme), and there is no sin in that. You can admire an artist greatly, but not all of his or her works. I greatly admire Coltrane’s spiritual quest; it may have helped him reach a catharsis, but it’s not fun listening! Luckily, in his too-short life, he still managed a tremendous output, so there’s plenty of great stuff for all of us. What fun would it be if everyone sounded the same?

          • joe knows what’s up. it doesn’t matter if you don’t like an artist. but this one time our criticisms were asked for, so no harm.

            still though, how anyone’s blood doesn’t turn to battery acid listening to “sun ship” or “transition” is just beyond me. 😉

            • I had a funny experience once in that regard at a local record store. The manager was playing a Mingus record, and we were jamming on it and talking about its many levels of awesomeness. Right then, a lady came up to the counter, and started lambasting him for playing such “garbage” and was “so offensive” and “horrible” that she was compelled to storm out in anger. One man’s trash . . .

              • My point exactly Joe.

                I am a recent member of a Youtube Vinyl Community on Facebook. And they listen to and love all sorts of music. I am in it for the jazz. Others are for the rock; you get the picture.

                I was viewing one of their YouTube rants today and thought what holds them together is their love for everything vinyl. Thus my guilt trip rant.

                The members on this blog are mature music and vinyl fans, and able to critic artist and their music styles.

  16. I have never cared for braxton, but his influence alone is enough to warrant appreciation. i have some of his albums. they’re ok.

    i LOVE cecil taylor, though.

    who do i not like? as per your request:

    anthony braxton – too much exploring, not enough playing. i’ve never seen one of his stupid diagrams explained in any rational way. and i LIKE non-traditional musical notation when someone can make it useable.

    dave brubeck – “oh look at me, i play gimmicky melodies that repeat every single bar, but i play them in a weird time signature!” a third grader can follow the rhythm to take five or blue rondo. gimme a break. and they can’t even improvise in those signatures! they awkwardly break to 4/4 to solo. pathetic. how’s that for harsh words? 🙂

    jaco pastorious – if i need to explain why i hate him, i’m not at the blog i think i’m at.

    wynton marsalis – mediocre player who can only do the basics, and uses that as an excuse to shit on great free jazz. his brother is a weiner as well.

    all those new sugar-pop ‘jazz’ players: kenny g, chris botti, mind abair, etc. fuck ’em.

    and there you go. got me thinking angrily, LJC! hope i haven’t offended. i’m being candid because being candid is fun. i love you all and i love anyone who makes music. (but i don’t necessarily love the music they make.)

  17. The Marte Roling (Dutch artist) cover of the Cecil Taylor Nefertiti on Dutch Fontana is even more striking. She did a whole bunch of Jazz covers for Fontana, mostly Free Jazz titles. I have a few, some for the music, some for the covers. A bit like the A.R. Penck records with Butch Morris, great covers

  18. I’ve got 3 records with Roger Blank, Sun Ra Arkestra, The Heliocentric Worlds vol.2 ESP DISK’ 1017, one take with Archie Shepp in The New Wave in Jazz, Impulse A 90 and the monster CD box Albert Ayler Holy Ghost. Anyway a complete unknown to me.

    • I’d say Roger Blank is mainly known for his work with Sun Ra, he is 75, don’t know if he is still active musically.
      I find Brubeck’s up tempo playing quite irritating even with the marvelous drumming of Morello & Dawson, OK on ballads tho.
      Herbie Mann, despite his ability to surround himself with superb sidemen, was a decidedly moderate flautist

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