Percolating with ideas, the tunes on this release are intimate, enthralling, and and laced throughout with rich blue tones...
—Bob Osborne, World of Jazz / All About Jazz
“Imagine the peaks we could climb if everyone listening to Hilton or reading this played so well together. Truth be told, Lucky All Along could be as close to a greatest hits album Hilton, or any of us, will ever get….very attainable, very welcome, very deserved.” —Mike Jurkovic, All About Jazz
“A captivating blend of cool Jazz and impressionist-inspired compositions... Lucky All Along merges diverse jazz styles with impressionistic textures, making it a deeply emotive and innovative release.” —Jazz Sketches
Brimming with ideas, hope and beauty, bursting with rhythm at times and creating impressionistic moods throughout, Lucky All Along has something for everyone—from those who are jazz curious to straight-ahead fans and beyond. Trumpeter Igmar Thomas’s virtuosity is stunning on Hilton’s tracks And Some Blues... and Prophesies and Predictions as well as the iconic All Blues by Miles Davis from his 1959 album Kind Of Blue, but blends well with Hilton’s round piano tones and bluesy solos. Bassist Luques Curtis creates powerful, and at times boisterous solos on these tracks too, delivering a steady stream of energy. Hilton’s melodic and expressive touch takes center stage on Hollywood Moment, reminiscent of some of Bill Evans’ pianism and Starry, Starry Eyes, which Hilton notes was inspired by impressionist painter Vincent Van Gogh. Drummer Rudy Royston’s creative moves delight throughout but imbue the Latin tinge tunes Little Beach Mornings and Escapist Fantasy with charm and mastery. Big Sur Views allows us to hear Hilton’s solo piano touch and clarity in an Americana composition with classical touches. The titular Lucky All Along, has a countrified vibe, with a touch of ragtime.
Hilton’s notes she chose two cover tunes because “I think jazz should reflect our times today and great composers of this generation too.” See You Again, was co-written by singer/songwriter/producer Charlie Puth, whom Hilton met when he was still a student at Berklee College of Music. This touching tune was inspired by the loss of Puth’s friend in a motorcycle accident and radiates with Thomas’s improvisations and Royston’s steady support. Hilton added Puth’s solo piano intro to the finale of this track. The intimate Snow On The Beach co-written by Taylor Swift, Lana Del Rey, and Jack Antonoff, is the last track on the album. Subtlety is the approach to this poignant song, that hints at holding onto rare and fleeting moments, bringing an impressionistic ending to this superb album.
Q: Congratulations on your thirtieth album Lucky All Along! Or perhaps should I be saying: “Happy 30th Birthday?”
Lisa Hilton: I like that – it has a nice ring to it! I’ve created twenty-eight albums in the U.S. and two in Asia, so I’m at thirty now, and somehow it just keeps getting more fun each year with every recording!
Q: Why do you think that is?
LH: As a composer, ideas flow much more quickly now that I have two hundred compositions, and it’s easier for me to get them written down too. In the past it was hard and time consuming for me to notate music scores. After I taught myself Sibelius, the notation software I use, it was still slow going for a while to notate, but nowadays I write music easily.
Q: That makes sense, and of course, you know your bandmates really well now too – that must make it easier... .
LH: It does feel like we are able to do more things musically now. We had a terrific time touring together in March 2024, and with familiarity everyone has become more intuitive, which leads to more freedom in our playing. Now we actively work to create spots for everyone to stand out. Luques Curtis has strong bass performances on this album. Igmar Thomas knocks me out with his virtuosity on trumpet, and drummer Rudy Royston’s creativity always surprises me. I love how everyone sounds – I hear so much beauty, hope, joy, passion, mastery and life in this music – it really touches me and we hope others feel that way too.
Q: Where did you record?
LH: This time we worked at EastWest Studios in Hollywood. I’m very conscientious about sound, so I’ve recorded at numerous top studios. By far, EastWest was the coolest studio I’ve ever been in! I think the vibe there boosted our moods and creativity!
Q. How long does it take for you to record an album?
LH: We record in just one day: it takes about six hours plus set up time and breaks. It’s a full day.
Q: You must work pretty quickly!
LH: I like the music to feel fresh and authentic, not “perfect”. We discuss the ideas in the piece, record three takes, then move on.
Q: I I noticed a lot of variety in song choices – your tunes alongside Miles Davis, Taylor Swift and Charlie Puth for example.
LH: I Yep; whether you’re jazz curious or a straight ahead fan, there’s something for you on this album. I think most people enjoy genre-free listens these days for work, entertaining or to relax. We’ve got jazz, blues and Latin vibes with a sprinkle of pop, bop, country and gospel, and the band switches gears with agility throughout. Lots of upbeat rhythms and memorable melodies too.
Q: Do you have any favorite tunes on the Lucky All Along?
LH: I love them all! They touch you in so many ways, so listening to the full album feels like a journey. My fav might be And Some Blues.. it has a pretty celebratory vibe to it. A couple people working at the studio said they liked Little Beach Mornings best. I could listen to All Blues over and over and over! Escapist Fantasy and Starry, Starry Eyes are very melodic and Latiny tunes that I really like. Lucky All Along is a bit countrified and about gratitude, while Big Sur Views has a meditative quality. Prophesies & Predictions has lots of ideas – be sure to listen to that one through to the end. Hollywood Moment is also a favorite for me – it reminds me of pianist Bill Evans a bit. Both See You Again and Snow on the Beach are terrific compositions I’m glad we recorded.
Q: Tell us a bit more about those last two cover songs you just mentioned?
LH: Lots of jazz artists arrange tunes by the Beatles or Stevie Wonder, but I think jazz should reflect today and feature great composers of this generation. While he was still at Berklee College of Music, singer/songwriter/producer Charlie Puth opened up for me at a show I had in Boston. Even then, his skills, talent, and personality impressed me. After graduation, Charlie co-wrote a song about the loss of his friend in a motorcycle accident, which he expressed in a very touching way in the tune See You Again.
Snow On The Beach was written by Taylor Swift, Lana Del Rey and Jack Antonoff for Taylor’s Midnights album in 2022. Although this is considered a pop song, I hear a touch of the great American composer Robert Johnson in this evocative composition. It is an extremely well written and beautiful song, and I love the very subtle improvisations from the bass and drums on this track. Snow on a beach is somewhat rare, so we finished a joyful album with the idea that every moment is rare and should be cherished.
“Another Lisa Hilton album, and for many the world seems a better place…. Hilton gives her exemplary quartet freedom and space to explore and they all have well-deserved expressive moments in the spotlight. The relaxed charm of this album offers joyful moments and memorable melodies…and is easy to recommend.” —Neil Duggan, All About Jazz
“A captivating blend of cool Jazz and impressionist-inspired compositions... Lucky All Along merges diverse jazz styles with impressionistic textures, making it a deeply emotive and innovative release.” —Jazz Sketches
Brimming with ideas, hope and beauty, bursting with rhythm at times and creating impressionistic moods throughout, Lucky All Along has something for everyone—from those who are jazz curious to straight-ahead fans and beyond. Trumpeter Igmar Thomas’s virtuosity is stunning on Hilton’s tracks And Some Blues... and Prophesies and Predictions as well as the iconic All Blues by Miles Davis from his 1959 album Kind Of Blue, but blends well with Hilton’s round piano tones and bluesy solos. Bassist Luques Curtis creates powerful, and at times boisterous solos on these tracks too, delivering a steady stream of energy. Hilton’s melodic and expressive touch takes center stage on Hollywood Moment, reminiscent of some of Bill Evans’ pianism and Starry, Starry Eyes, which Hilton notes was inspired by impressionist painter Vincent Van Gogh. Drummer Rudy Royston’s creative moves delight throughout but imbue the Latin tinge tunes Little Beach Mornings and Escapist Fantasy with charm and mastery. Big Sur Views allows us to hear Hilton’s solo piano touch and clarity in an Americana composition with classical touches. The titular Lucky All Along, has a countrified vibe, with a touch of ragtime.
Hilton’s notes she chose two cover tunes because “I think jazz should reflect our times today and great composers of this generation too.” See You Again, was co-written by singer/songwriter/producer Charlie Puth, whom Hilton met when he was still a student at Berklee College of Music. This touching tune was inspired by the loss of Puth’s friend in a motorcycle accident and radiates with Thomas’s improvisations and Royston’s steady support. Hilton added Puth’s solo piano intro to the finale of this track. The intimate Snow On The Beach co-written by Taylor Swift, Lana Del Rey, and Jack Antonoff, is the last track on the album. Subtlety is the approach to this poignant song, that hints at holding onto rare and fleeting moments, bringing an impressionistic ending to this superb album.
About Lisa Kristine Hilton
The music of Lisa Hilton draws on classic American jazz greats such as Duke Ellington, Thelonious Monk, Dizzy Gillespie, Horace Silver, and Count Basie, as well as blues hero Robert Johnson. She is a prolific composer and her thirty albums regularly sit at the top of the Jazz Week and other charts, drawing millions of plays and appearing regularly as an Amazon #1 New Cool Jazz Release. Hilton has performed at venues such as Carnegie Hall, The Smithsonian Institution, UCLA's Royce Theatre, San Francisco Jazz, and Chicago's historic Green Mill among others.Q: Congratulations on your thirtieth album Lucky All Along! Or perhaps should I be saying: “Happy 30th Birthday?”
Lisa Hilton: I like that – it has a nice ring to it! I’ve created twenty-eight albums in the U.S. and two in Asia, so I’m at thirty now, and somehow it just keeps getting more fun each year with every recording!
Q: Why do you think that is?
LH: As a composer, ideas flow much more quickly now that I have two hundred compositions, and it’s easier for me to get them written down too. In the past it was hard and time consuming for me to notate music scores. After I taught myself Sibelius, the notation software I use, it was still slow going for a while to notate, but nowadays I write music easily.
Q: That makes sense, and of course, you know your bandmates really well now too – that must make it easier... .
LH: It does feel like we are able to do more things musically now. We had a terrific time touring together in March 2024, and with familiarity everyone has become more intuitive, which leads to more freedom in our playing. Now we actively work to create spots for everyone to stand out. Luques Curtis has strong bass performances on this album. Igmar Thomas knocks me out with his virtuosity on trumpet, and drummer Rudy Royston’s creativity always surprises me. I love how everyone sounds – I hear so much beauty, hope, joy, passion, mastery and life in this music – it really touches me and we hope others feel that way too.
Q: Where did you record?
LH: This time we worked at EastWest Studios in Hollywood. I’m very conscientious about sound, so I’ve recorded at numerous top studios. By far, EastWest was the coolest studio I’ve ever been in! I think the vibe there boosted our moods and creativity!
Q. How long does it take for you to record an album?
LH: We record in just one day: it takes about six hours plus set up time and breaks. It’s a full day.
Q: You must work pretty quickly!
LH: I like the music to feel fresh and authentic, not “perfect”. We discuss the ideas in the piece, record three takes, then move on.
Q: I I noticed a lot of variety in song choices – your tunes alongside Miles Davis, Taylor Swift and Charlie Puth for example.
LH: I Yep; whether you’re jazz curious or a straight ahead fan, there’s something for you on this album. I think most people enjoy genre-free listens these days for work, entertaining or to relax. We’ve got jazz, blues and Latin vibes with a sprinkle of pop, bop, country and gospel, and the band switches gears with agility throughout. Lots of upbeat rhythms and memorable melodies too.
Q: Do you have any favorite tunes on the Lucky All Along?
LH: I love them all! They touch you in so many ways, so listening to the full album feels like a journey. My fav might be And Some Blues.. it has a pretty celebratory vibe to it. A couple people working at the studio said they liked Little Beach Mornings best. I could listen to All Blues over and over and over! Escapist Fantasy and Starry, Starry Eyes are very melodic and Latiny tunes that I really like. Lucky All Along is a bit countrified and about gratitude, while Big Sur Views has a meditative quality. Prophesies & Predictions has lots of ideas – be sure to listen to that one through to the end. Hollywood Moment is also a favorite for me – it reminds me of pianist Bill Evans a bit. Both See You Again and Snow on the Beach are terrific compositions I’m glad we recorded.
Q: Tell us a bit more about those last two cover songs you just mentioned?
LH: Lots of jazz artists arrange tunes by the Beatles or Stevie Wonder, but I think jazz should reflect today and feature great composers of this generation. While he was still at Berklee College of Music, singer/songwriter/producer Charlie Puth opened up for me at a show I had in Boston. Even then, his skills, talent, and personality impressed me. After graduation, Charlie co-wrote a song about the loss of his friend in a motorcycle accident, which he expressed in a very touching way in the tune See You Again.
Snow On The Beach was written by Taylor Swift, Lana Del Rey and Jack Antonoff for Taylor’s Midnights album in 2022. Although this is considered a pop song, I hear a touch of the great American composer Robert Johnson in this evocative composition. It is an extremely well written and beautiful song, and I love the very subtle improvisations from the bass and drums on this track. Snow on a beach is somewhat rare, so we finished a joyful album with the idea that every moment is rare and should be cherished.
“Another Lisa Hilton album, and for many the world seems a better place…. Hilton gives her exemplary quartet freedom and space to explore and they all have well-deserved expressive moments in the spotlight. The relaxed charm of this album offers joyful moments and memorable melodies…and is easy to recommend.” —Neil Duggan, All About Jazz
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