The music is an attachment of her soul. The arrangements are an extension of her vision. The performance is her heart injected into ours, and this is the legacy of pianist Lisa Hilton, as she again employs the ivories in 2009. Ruby Slippers Production surpasses its other projects with Hilton, offering Twilight & Blues, a new angelic instrumental articulation, chiseled by compassion, which escalates her degree of prominence in the global jazz hemisphere once again.
Twilight & Blues uncovers the numerous personalities of Hilton’s dimensions. Ms. Hilton looks at this project this way, "The album is about different colors and shades of blue: from blues scaled pieces like "Pandemonium", to the color of the sky in "Twilight", the lightest wash of blue in "Moon River" and the more familiar form in "Blue for You" which has an actual blues section." All of which draws the audience in closer to her enchanting ivory orchestration. Original intro cut "Pandemonium" allows the wild child to escape. On the flip side, "Turbulent Blue" creates a dark area in which anger and despair meet head to head, showcasing the conflict therein. One might speak to this project as the fulcrum of Hilton’s emotional maturity, as she comes closer to her crossroads.
Jeremy Pelt (trumpet) sways into the feel of what I would call, one of Hilton’s finest pieces, "Blue for You." The Hilton music sheet ink still wet as it draws in the injection of the Pelt weeping trumpet, as the compositions suggestion takes you crawling down the smoke-filled blues alleyways. Through the arrangement you feel the pain of loss- the tears of have-not - yet you know as always, in the blues alley, there is a way out. An extremely potent performance, for it gives reason as to why the blues is such an important avenue in our music globally.
Ms. Hilton looks at this spin this way,"Blue for You," is about taking a blues structure and thought, but using it in a realistic way for today. We are more likely to be thinking something pleasant about someone and that segues into missing them, rather than just being in a totally BLUES mood. I try and integrate blues into other song forms that work for today." This philosophy is common and could be true for most of the Hilton projects.
In the Hilton study guide under music sheet development, "City Streets" should be featured. The craft of sculpting noise to an image is a skill few can capture. In this spin, Hilton has taken the sounds of the city and translated them to jazz composition, thus giving the sense of Manhattan at rush hour. As your taking the ivory subway to 96th street, you encounter the cultural movements of an everyday journey. This is a lesson in arrangement, which is outside the textbook norm.... brilliant!
As for her title cut "Twilight" I spoke briefly with her on this cut. "Twilight" is such an interesting time of day - not really daytime, and not yet the night. There is the energy of daytime colliding into the pace of the evening and the possibilities that might occur next. I guess it's a lot like jazz when you think of it." That is evident when one push-n-plays this arrangement at such a time when jazz meets that precise moment.
Throughout the discography of Lisa Hilton we have attached ourselves to her in Manhattan at midnight, with the jazz-ease of her seductive demeanor. Some have been touched by her soulful side, as she plays to her sunny day theory of life. Whether Ms. Hilton is playing after dark, orchestrating and extracting moods by playing from the heart, or just in our space, with a tenacious seduction, created from her inner soul. The experiences all have one common denominator. The classic lady herself - Lisa Hilton!