ALEXANDER HAWKINS – SONG UNCONDITIONAL (Intakt Records) (2025)

Described as innovative and as “constructing a new sound world”, Hawkins has been making albums since 2009 both as a pianist and Hammond organist. There are thirteen compact solo instrumental pieces where the pianist explores “the expressive possibilities of the piano”; Adam Shatz in the liner notes refers to “marvels of compressed exploration”. Early on he idolised Art Tatum (Lots of technical prolificity need then!), also absorbing the music and moves of the likes of Monk, Bud Powell, Elmo Hope and Cecil Taylor.

My impression is that this is a great album for putting on in the background, but also for serious piano aficionados for appreciation and study; perhaps as a listener best appreciated selectively to appreciate the intricacies and nuances of each piece. ‘Polyphonic Song’ is an impressive opener, as Hawkins ingenuously builds towards a repetitive and haunting piano motif with astute variations before a ‘winding down’ diminuendo. The next piece is more complex, but perhaps not as arresting, to be appreciated in a different kind of way perhaps. I detected classical influences on ‘Song of Infinite Variations’ (Some of the titles are giveaways!); ‘Song Symmetrical’ is a grand reverie with beguiling serpentine piano runs. The refined obtuseness of Cecil Taylor’s pianistic style is reflected on pieces like ‘Crinkle, Crinkle’ and ‘Song of Interdependence’ while the closing two pieces use an uncustomary number of chords and less extrapolation in a satisfyingly atmospheric conclusion to an artist whose subtle sonic piano explorations has won the admiration of reviewers, audiences and fellow musicians such as saxophonist Shabaka Hutchings who made a surprise appearance on stage with Hawkins in December, 2023.