On the cover of Promethean, pianist Theo Hill's debut album for Posi-Tone Records, is a quote from filmmaker Jean-Luc Godard: "It's not where you take things from," it reads, "it's where you take them to." In that spirit of transportation-and transformation-Hill presents a program of 11 songs in which his goal is to pay homage to the music of his idols while cultivating his own distinct voice. While the project benefits mightily from the presence of bassist Yasuchi Nakamura and drummer Mark Whitfield Jr., it's Hill's formidable piano chops and probing arrangements that make this album such a winning statement. In his hands, the propulsive groove of Duke Pearson's "Is That So" receives a contemporary makeover, with a funky sense of geometry that preserves the integrity of the original while pushing it into the 21st century. Chick Corea's "Finger Painting" becomes a vast arena for quiet exploration, with deliberately spacious piano figures that allow room for the composer's genius to breathe. Gems by Kenny Kirkland ("Blasphemy"), Bobbly Timmons ('This Here") and Hale Smith ("I Love You") populate this album as well, and Hill approaches them with an equal measure of reverence and revival. But it's a pair of tunes by drummer Tony Williams- "Pee Wee" and "Citadel"-that best exemplify Hill's astounding range as a stylist. The first is a delicate ballad, played with serene clarity and dignified restraint. Like the best poetry, it's the spaces between phrases that connote the most meaning. The second is a blast of modern jazz energy-as passionate and powerful as Williams' drumming. That Hill can cover so much stylistic territory is impressive-he even adds fiery original, "The Phoenix"-but even more impressive is the way he so confidently stakes out territory of his own. We are living in a Golden Age of piano players, and the sheer amount of young talent out there is encouraging. In this fertile soil, it's inspiring to see that Hill has planted his flag. -Downbeat
Theo Hill captures the reflection of the Promethean in nine artists whom he admires, and offers one of his own as well, on a remarkable first recorded performance as leader. The music is alive with intelligent nuance, stylish surety and tonal allure. Everyone from Bobby Timmons and Herbie Hancock to Victor Lewis and Tony Williams is painted with a wealth of colour and rhythmic complexity. Bobby Timmons’ “This Here” opens this robustly engineered disc and proceeds to delight the ears through the pianist’s subtle contrapuntal repartee between the hands, which proves most telling at climactic points, along with a genuinely vocal attitude towards shaping long melodic lines. Hill’s effortless yet sophisticated of allegro molto’s rapid phrase groupings (on “The Phoenix”) makes the bar lines disappear to magical effect. Elsewhere (on “Litha”, for instance,) denser textures and wider dynamic spectrum add urgency and emotional weight to the music. One may find brasher, bouncier playing of the original standards on disc, but Theo Hill’s unusually seasoned expertise (together with that of Yasushi Nakamura’s and Mark Whitfield Jr) guarantees lasting joy. -JAZZdaGAMA
THEO HILL/Promethean: An unbridled swinger, this piano man takes us back to the day and highlights the finest vibe of jazz piano trios before Beatles came along and changed everything for every one. No stranger to real jazz, he starts out by taking it back to the 50s and not getting much more forward than the 70s save for his original. Not a blast from the past but almost a breath of fresh air as it opens the window to the best of what was, Hill is an undisputed contender waiting for his change at the crown. Killer stuff. -Midwest Record
Pianist Theo Hill entered the Posi-Tone Records Universe as a member of trombonist David Gibson's band. Now he's making his studio debut as a leader, with Yasushi Nakamura and Mark Whitfield Jr. on drums. It's a cautious effort through its inclusion of tunes by Duke Pearson, Herbie Hancock, Kenny Kirkland (who gets the nod twice), Chick Corea and Bobby Timmons. The only original piece "The Phoenix" comes at the disc's exact midpoint, and it's a burner, allowing Whitfield in particular to go wild as Hill strikes heavy left hand chords and erupts in right hand extrapolations that recall McCoy Tyner and Vinve Guaraldi in equal measure. Here's hoping he writes more of the music next time. -The Wire