Cincha

Stars Down to the Ground
Cynthia Hilts | Montana Artists Refuge
Review By Dave Nathan


Cynthia Hilts came from New York for a year's stint as artist in residence at the Montana Artists Refuge. This features music she wrote while working and living in the Big Sky State. The music embraces a wide range of styles including jazz, funk, folk and new music used in varying harmonic settings feelings of sadness, joy, agony and humor. When in New York, Hilts formed the Lyric Fury Ensemble to play her original compositions, mostly avant garde in structure.

Hilts plays piano on all and sings on most of the tracks. She pokes fun at modern music on “Faith and the Mash” where Faith is urged not to play the piano in “clumps” but “play us a sweet melody”. The music matches the words as the piano alternates between discordant and sweet chords. The tune ends in a tumult of sound leaving one to conclude that Faith likes playing in clumps. There's more humor in “A Heifer on Capitalist Ave”. a narration of a cow's reactions to its first visit to Big Apple's Fifth Ave. Ruminative feelings come into play on the title tune featuring the probing lyrical guitar of Ben White. Funk arrives with “Porch Tune” as White's guitar turns smeary and M. J. Williams contributes both Jack Teagarden like trombone and backup vocals. “Greengrass Forest” a serious conversation between Hilts' jagged pianism, Brad Edwards' lyrical drumming and M. J. Williams' modern sounding trombone counterbalanced by White's straight ahead guitar making this one of the session's more compelling cuts.
Track Listing: A Rock's Line; A Heifer on Capitalist Ave.; Love Song for a Mountain; Faith and the Mash; Elk Bones; Stars Down to the Ground; Greengrass Forest; Hounding; Joe, I'm Leaving; Porch Tune

Personnel: Cynthia Hilts - Piano/Vocals; M. J. Williams - Trombone/Vocals; Ben White - Guitar; Mike Carey - Bass; Brad Edwards - Drums

- allaboutjazz.com

Stars Down to the Ground
Cynthia Hilts | Montana Artists Refuge
Review By Dave Nathan


Cynthia Hilts came from New York for a year's stint as artist in residence at the Montana Artists Refuge. This features music she wrote while working and living in the Big Sky State. The music embraces a wide range of styles including jazz, funk, folk and new music used in varying harmonic settings feelings of sadness, joy, agony and humor. When in New York, Hilts formed the Lyric Fury Ensemble to play her original compositions, mostly avant garde in structure.

Hilts plays piano on all and sings on most of the tracks. She pokes fun at modern music on “Faith and the Mash” where Faith is urged not to play the piano in “clumps” but “play us a sweet melody”. The music matches the words as the piano alternates between discordant and sweet chords. The tune ends in a tumult of sound leaving one to conclude that Faith likes playing in clumps. There's more humor in “A Heifer on Capitalist Ave”. a narration of a cow's reactions to its first visit to Big Apple's Fifth Ave. Ruminative feelings come into play on the title tune featuring the probing lyrical guitar of Ben White. Funk arrives with “Porch Tune” as White's guitar turns smeary and M. J. Williams contributes both Jack Teagarden like trombone and backup vocals. “Greengrass Forest” a serious conversation between Hilts' jagged pianism, Brad Edwards' lyrical drumming and M. J. Williams' modern sounding trombone counterbalanced by White's straight ahead guitar making this one of the session's more compelling cuts.
Track Listing: A Rock's Line; A Heifer on Capitalist Ave.; Love Song for a Mountain; Faith and the Mash; Elk Bones; Stars Down to the Ground; Greengrass Forest; Hounding; Joe, I'm Leaving; Porch Tune

Personnel: Cynthia Hilts - Piano/Vocals; M. J. Williams - Trombone/Vocals; Ben White - Guitar; Mike Carey - Bass; Brad Edwards - Drums

- allaboutjazz.com

CYNTHIA HILTS
A Beautiful American and One of the Greats of Jazz

A long golden ray of sun comes from her adopted Montpellier, astonishingly to pierce the black of the stage. Even her name is scintillating - Cynthia. She has a sweet, gentle and langorous American nonchalance that reinforces a natural feminine charm. All at once, she is transformed - it is the genius of talent and heart. She becomes one with her piano, the extension of her immense talent as a jazz pianist, her primary means of expression. Syncopation and nuance, rhythm and dissonance, sensitivity and personal expression - Cynthia Hilts plays her compositions as a great professional, properly, seriously. With the accompanying musicians, her work as a vocalist and instrumentalist takes on another dimension.
There is the sweetest of lovers' dialogues with the alto sax of Doudou Gouirand, in which Cynthia's voice blends perfectly with the intonation of the sax ("Touch My Cheek"). There are other more classic, up-tempo tunes, in which Cynthia reveals herself the equal of the greatest of jazz. There's also a creation of atmospheres - desert, cold, wintery - that lets the sounds of long suffering be heard.
An excellent Denis Fournier on drums and Jean-Rene Dalercy on bass, form a smooth-textured group, where each one is listening to the other in a rhythm that never falters. So, Cynthia Hilts had everything Thursday night to attract the impassioned fans who know enough to move for more famous names. What a shame! The only false note of the night was in the audience : twenty-seven spectators to admire a rising star! The O.A.C. of Elbeuf and Mercure doesn't really deserve this. The reasons for this unfair slap in the face would well merit some investigation. But this in no way reflects on the marvelous flight of the beautiful Cynthia.


- Elbeuf Journal

CYNTHIA HILTS
A Beautiful American and One of the Greats of Jazz

A long golden ray of sun comes from her adopted Montpellier, astonishingly to pierce the black of the stage. Even her name is scintillating - Cynthia. She has a sweet, gentle and langorous American nonchalance that reinforces a natural feminine charm. All at once, she is transformed - it is the genius of talent and heart. She becomes one with her piano, the extension of her immense talent as a jazz pianist, her primary means of expression. Syncopation and nuance, rhythm and dissonance, sensitivity and personal expression - Cynthia Hilts plays her compositions as a great professional, properly, seriously. With the accompanying musicians, her work as a vocalist and instrumentalist takes on another dimension.
There is the sweetest of lovers' dialogues with the alto sax of Doudou Gouirand, in which Cynthia's voice blends perfectly with the intonation of the sax ("Touch My Cheek"). There are other more classic, up-tempo tunes, in which Cynthia reveals herself the equal of the greatest of jazz. There's also a creation of atmospheres - desert, cold, wintery - that lets the sounds of long suffering be heard.
An excellent Denis Fournier on drums and Jean-Rene Dalercy on bass, form a smooth-textured group, where each one is listening to the other in a rhythm that never falters. So, Cynthia Hilts had everything Thursday night to attract the impassioned fans who know enough to move for more famous names. What a shame! The only false note of the night was in the audience : twenty-seven spectators to admire a rising star! The O.A.C. of Elbeuf and Mercure doesn't really deserve this. The reasons for this unfair slap in the face would well merit some investigation. But this in no way reflects on the marvelous flight of the beautiful Cynthia.


- Elbeuf Journal

Cynthia Hilts: The Beautiful American

When this lovely young woman with her blond curls and amazing legs appeared on stage, sighs of admiration rose from the audience, perhaps a bit mocking. How could a pretty girl like her have talent, although her legs doubtless hold their own. These prejudices still hang on, above all in the jazz world, which remains predominately male and where, traditionally, a woman could only hope to be a hanger-on, or at best an interpretive singer.
But, now, Cynthia Hilts, though she sings with a husky voice that tears your guts, plays the piano even better. She composes and improvises like one of the guys (like one of the best of the guys).The audience realized this very quickly, and after a courteous welcome, there soon followed a silence of respectful admiration. Because, literally, Cynthia Hilts' playing takes your breath away, even as you try to follow the breaks and syncopation.
She professes to be a follower of Thelonius Monk, the pianist who prided himself on having none, as he denied any outside reference, except perhaps for Cuban music. It is certain that she has learned a lesson from the old master, of whom it was said that he was "...a man with drums in his head." Cynthia Hilts has drums in her fingers and a metronome in her head. Rhythm pursues her like destiny, even as her voice ignores the interpretations of her hands with superb independence.
This American based in Montpellier began playing piano at age six. She started jazz at eighteen, after achieving a solid technique easily detectable in her playing. She has played in trio, in quintet, but above all she has listened alot, searching a bit for the synthesis of all the different styles, like many young musicians.
If she remains faithful to jazz, it is, she says, ..."because jazz is where I learned to improvise." She recognizes that it is not easy to be a woman "...but maybe that is what gives me the strength to keep going."

Pierre Machet
- Nice-Matin Journal

Cynthia Hilts: The Beautiful American

When this lovely young woman with her blond curls and amazing legs appeared on stage, sighs of admiration rose from the audience, perhaps a bit mocking. How could a pretty girl like her have talent, although her legs doubtless hold their own. These prejudices still hang on, above all in the jazz world, which remains predominately male and where, traditionally, a woman could only hope to be a hanger-on, or at best an interpretive singer.
But, now, Cynthia Hilts, though she sings with a husky voice that tears your guts, plays the piano even better. She composes and improvises like one of the guys (like one of the best of the guys).The audience realized this very quickly, and after a courteous welcome, there soon followed a silence of respectful admiration. Because, literally, Cynthia Hilts' playing takes your breath away, even as you try to follow the breaks and syncopation.
She professes to be a follower of Thelonius Monk, the pianist who prided himself on having none, as he denied any outside reference, except perhaps for Cuban music. It is certain that she has learned a lesson from the old master, of whom it was said that he was "...a man with drums in his head." Cynthia Hilts has drums in her fingers and a metronome in her head. Rhythm pursues her like destiny, even as her voice ignores the interpretations of her hands with superb independence.
This American based in Montpellier began playing piano at age six. She started jazz at eighteen, after achieving a solid technique easily detectable in her playing. She has played in trio, in quintet, but above all she has listened alot, searching a bit for the synthesis of all the different styles, like many young musicians.
If she remains faithful to jazz, it is, she says, ..."because jazz is where I learned to improvise." She recognizes that it is not easy to be a woman "...but maybe that is what gives me the strength to keep going."

Pierre Machet
- Nice-Matin Journal

She was supposed to play in unedited duo with the guest of this second festival of Jazz of
the Valley of l'Herault, "Blues of Autumn", Charlie Haden, an exceptional duo sponsored by the France - Telecom Foundation.
The chance of a bad cold, caught by the one who should have been her partner that evening, allowed her instead a meeting, unforeseen and quite positive, with another musician of quality, who had not initially been expected in the program of "Blues of Autumn '91" : the bassist Pierre Michelot.
These two musicians had never met. And so in this country hall, the duo of Cynthia Hilts and the French bassist began perhaps a bit timidly. A long period of observation, searching for contact, for an understanding, then suddenly, on the third tune, the concert bowled over and entranced the large, attentive audience, definitively conquering them.
Pierre Michelot - who has played with Dexter Gordon, Christian Escoude, Claude Nougaro and, of course, Miles Davis (Ascension) - became sublime together with Cynthia Hilts. She, as well, in the interpretation of her partner, her personal talent as a pianist and the sweetness of her voice, the range and richness of which was particularly noted by the director of France- Telecom of Beziers. During the cocktail party following the concert he congratulated the organizers of this second festival of Jazz, for the quality and diversity of the programming offered to jazz amatures in the different localities of the partners of this project.
It was a very successful evening with the support of France-Telecom, that the large audience appreciated, an audience that was also regaled with an unexpected addition to the program : after the duo's three encores, the public was allowed, in effect, to attend the concert marking the end of the jazz clinic given by the "students" of guitarist Christian Escoude.
- Midi Libre

She was supposed to play in unedited duo with the guest of this second festival of Jazz of
the Valley of l'Herault, "Blues of Autumn", Charlie Haden, an exceptional duo sponsored by the France - Telecom Foundation.
The chance of a bad cold, caught by the one who should have been her partner that evening, allowed her instead a meeting, unforeseen and quite positive, with another musician of quality, who had not initially been expected in the program of "Blues of Autumn '91" : the bassist Pierre Michelot.
These two musicians had never met. And so in this country hall, the duo of Cynthia Hilts and the French bassist began perhaps a bit timidly. A long period of observation, searching for contact, for an understanding, then suddenly, on the third tune, the concert bowled over and entranced the large, attentive audience, definitively conquering them.
Pierre Michelot - who has played with Dexter Gordon, Christian Escoude, Claude Nougaro and, of course, Miles Davis (Ascension) - became sublime together with Cynthia Hilts. She, as well, in the interpretation of her partner, her personal talent as a pianist and the sweetness of her voice, the range and richness of which was particularly noted by the director of France- Telecom of Beziers. During the cocktail party following the concert he congratulated the organizers of this second festival of Jazz, for the quality and diversity of the programming offered to jazz amatures in the different localities of the partners of this project.
It was a very successful evening with the support of France-Telecom, that the large audience appreciated, an audience that was also regaled with an unexpected addition to the program : after the duo's three encores, the public was allowed, in effect, to attend the concert marking the end of the jazz clinic given by the "students" of guitarist Christian Escoude.
- Midi Libre

Cynthia Hilts: Stars Down to the Ground

If this recording is an example of what happens when a fast-paced New York avante-garde musician goes to summer camp in the hills of Montana, then we should bring more of them out here by the busload.

Cynthia Hilts, a pianist and singer known at home in the Big Apple as leader of a band called the Lyric Fury Ensemble, presents 10 polished compositions that span a wide range of styles and emotions, from jazzy and lyrical to low-down and funky. But there isn’t a hint of fury in the whole batch – unless you count "Heifer on Capitalist Ave.," a loping shuffle sung from the point of view of a free-range cow – that’s right, a cow – dropped into the big city: "Just a big hamburger without the bun, I’m gettin’ the heck out of here, this ain’t no fun."


The song goes on to make playful commentary on the amount of leather and nose rings spotted on denizens of the urban sidewalk. Hilts may be a serious musician and composer, but she’s a goofball too, and recording in the rural comfort of Montana seems to have brought out the best of both sides.


She is aided in this worthy effort by some of Montana’s most accomplished players, including M.J. Williams on vocals and trombone, Craig Hall on guitar, Brad Edwards on drums, and Mike Carey on bass. M.J., besides being a stellar musician, is one of the founders of the Montana Artists Refuge, which has sponsored Hilts’ sojourns in Big Sky country over several summers.


The declared mission of the Refuge is to provide support for artists who need a bit of freedom and open space, and in Hilts’ case the formula seems to have worked beautifully. All 10 tunes were composed during her 1999 residency, and then performed on statewide tour before making this recording.


Many of the compositions are evocative of the Montana landscape both in lyrics and instrumental work. A good example is the opening cut, "A Rock’s Line," which features contrapuntal vocalizing by Hilts and Williams on the subject of geography on a small scale. "Greengrass Forest," one of several instrumentals, is a serene and impressionistic duet between Hilts and Edwards, a drummer with the rare ability to play lyrically and also swing like the dickens.


Among my favorite tracks are several jazz waltzes, including the title cut, "Stars Down to the Ground," a poetic ode to the clear nighttime Montana sky augmented by smooth soloing from Hilts and guitarist Hall, and "Hounding," with a more driving 6/8 feel, aided by effective trombone work by Williams. There is more of Hilts’ goofy streak, too: "Faith and the Mash" poses as an admonition to an aspiring pianist to play "sweetly" before degenerating into inspired instrumental chaos.


The closing cut, called simply "Porch Tune," sums up nicely Hilts’ Montana experience: "Sitting on the porch, sunbaked gray planks, life’s glowing ’round here like torch, and I’m giving thanks." A funky, Mose Allison-esque groove, it features rambunctious double scat singing from Hilts and Williams spurred by a relaxed jam-session feel from the whole band. Throughout, Hilts demonstrates a light, swinging piano touch that is a nice match to her lilting vocal style.


All in all, you can tell that a great deal of fun was had in the making of this record. From the sound of it, Cynthia Hilts will want to come back to Montana someday. She should know she’ll always be welcome.


Stars Down to the Ground is available from the Montana Artists Refuge, Box 8, Basin MT 59631. All proceeds from its sale benefit the Refuge.


– David Horgan, guitarist with the Big Sky Mudflaps, Ed Norton Big Band and other Missoula-based ensembles


- Lively Times

Cynthia Hilts: Stars Down to the Ground

If this recording is an example of what happens when a fast-paced New York avante-garde musician goes to summer camp in the hills of Montana, then we should bring more of them out here by the busload.

Cynthia Hilts, a pianist and singer known at home in the Big Apple as leader of a band called the Lyric Fury Ensemble, presents 10 polished compositions that span a wide range of styles and emotions, from jazzy and lyrical to low-down and funky. But there isn’t a hint of fury in the whole batch – unless you count "Heifer on Capitalist Ave.," a loping shuffle sung from the point of view of a free-range cow – that’s right, a cow – dropped into the big city: "Just a big hamburger without the bun, I’m gettin’ the heck out of here, this ain’t no fun."


The song goes on to make playful commentary on the amount of leather and nose rings spotted on denizens of the urban sidewalk. Hilts may be a serious musician and composer, but she’s a goofball too, and recording in the rural comfort of Montana seems to have brought out the best of both sides.


She is aided in this worthy effort by some of Montana’s most accomplished players, including M.J. Williams on vocals and trombone, Craig Hall on guitar, Brad Edwards on drums, and Mike Carey on bass. M.J., besides being a stellar musician, is one of the founders of the Montana Artists Refuge, which has sponsored Hilts’ sojourns in Big Sky country over several summers.


The declared mission of the Refuge is to provide support for artists who need a bit of freedom and open space, and in Hilts’ case the formula seems to have worked beautifully. All 10 tunes were composed during her 1999 residency, and then performed on statewide tour before making this recording.


Many of the compositions are evocative of the Montana landscape both in lyrics and instrumental work. A good example is the opening cut, "A Rock’s Line," which features contrapuntal vocalizing by Hilts and Williams on the subject of geography on a small scale. "Greengrass Forest," one of several instrumentals, is a serene and impressionistic duet between Hilts and Edwards, a drummer with the rare ability to play lyrically and also swing like the dickens.


Among my favorite tracks are several jazz waltzes, including the title cut, "Stars Down to the Ground," a poetic ode to the clear nighttime Montana sky augmented by smooth soloing from Hilts and guitarist Hall, and "Hounding," with a more driving 6/8 feel, aided by effective trombone work by Williams. There is more of Hilts’ goofy streak, too: "Faith and the Mash" poses as an admonition to an aspiring pianist to play "sweetly" before degenerating into inspired instrumental chaos.


The closing cut, called simply "Porch Tune," sums up nicely Hilts’ Montana experience: "Sitting on the porch, sunbaked gray planks, life’s glowing ’round here like torch, and I’m giving thanks." A funky, Mose Allison-esque groove, it features rambunctious double scat singing from Hilts and Williams spurred by a relaxed jam-session feel from the whole band. Throughout, Hilts demonstrates a light, swinging piano touch that is a nice match to her lilting vocal style.


All in all, you can tell that a great deal of fun was had in the making of this record. From the sound of it, Cynthia Hilts will want to come back to Montana someday. She should know she’ll always be welcome.


Stars Down to the Ground is available from the Montana Artists Refuge, Box 8, Basin MT 59631. All proceeds from its sale benefit the Refuge.


– David Horgan, guitarist with the Big Sky Mudflaps, Ed Norton Big Band and other Missoula-based ensembles


- Lively Times

Just when I think I can classify all the different types of jazz, someone comes along and reminds me of the infinite space in music that jazz occupies. In her album, "Stars down to the ground," Cynthia Hilts pointed out some of those jazzy areas I had forgotten about. Many of her songs fall into an area called "goofy jazz" - meaning that the musicians take their fine-tuned jazz skills and tweak them, creating a funky sound based in traditional jazz, but placed somewhere between the sounds of the 1970s and a Dr. Seuss soundtrack.


Don't get me wrong: Hilts has a lovely jazz voice and style, crooning a couple of deliciously gentle ballads. But her lyrics show that her true nature is full of natural humor. Musicians on "Stars" seem to enjoy this take on jazz, all showing off high-quality jazz musicianship, jumping into the funniness. Listeners who like jazz but sometimes get bored by normalcy, give this album a listen.


"Stars Down to the Ground" is available at Rockin Rudy's and Budget Tapes and CDs.


 


Erica Parfit is a free-lance writer who reviews music for the Missoulian. - The Missoulian

Just when I think I can classify all the different types of jazz, someone comes along and reminds me of the infinite space in music that jazz occupies. In her album, "Stars down to the ground," Cynthia Hilts pointed out some of those jazzy areas I had forgotten about. Many of her songs fall into an area called "goofy jazz" - meaning that the musicians take their fine-tuned jazz skills and tweak them, creating a funky sound based in traditional jazz, but placed somewhere between the sounds of the 1970s and a Dr. Seuss soundtrack.


Don't get me wrong: Hilts has a lovely jazz voice and style, crooning a couple of deliciously gentle ballads. But her lyrics show that her true nature is full of natural humor. Musicians on "Stars" seem to enjoy this take on jazz, all showing off high-quality jazz musicianship, jumping into the funniness. Listeners who like jazz but sometimes get bored by normalcy, give this album a listen.


"Stars Down to the Ground" is available at Rockin Rudy's and Budget Tapes and CDs.


 


Erica Parfit is a free-lance writer who reviews music for the Missoulian. - The Missoulian