Polly Gibbons - Is It Me?

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 59:57
Size: 137,9 MB
Art: Front

(5:47)  1. Ability To Swing
(4:06)  2. You Can't Just...
(5:24)  3. Sack Full Of Dreams
(4:15)  4. Wrap Your Troubles In Dreams
(5:58)  5. Wild Is The Wind
(5:46)  6. Basin St. Blues
(3:45)  7. Midnight Prayer
(4:57)  8. Is It Me...?
(5:41)  9. Pure Imgination
(5:09) 10. Dr. Feelgood
(4:38) 11. I Let A Song Go Out Of My Heart
(4:27) 12. Don't Be On The Outside (Bonus Track)

With half a dozen albums to her name, British vocalist Polly Gibbons has no need to prove her worth but that hasn't inhibited her from pulling out all the stops on her second album for Resonance following on from 2014's My Own Company. Thomas Dolby's "Ability To Swing" proves just that, courtesy of a first class powerhouse of an American horn section (the album was recorded in the States where Gibbons plays gigs with increasing frequency, such is her in-demand status). The brass also acts as a sonic turbo-charged engine on the funky "You Can't Just...," one of three songs penned by Gibbons and her pianist/arranger and fellow Brit, James Pearson. The pair also co-wrote the wistfully lyrical title track. "Basin Street Blues" is given an up-tempo makeover but there are sultry soul-infused numbers such as "Midnight Prayer" (another Gibbons/Pearson original) and Gary McFarland's "Sack Full Of Dreams." There are also quartet backed numbers like "Wrap Your Troubles In Dreams" and the ruminative ballad "Wild Is The Wind." 

The uncompromising soul/blues outing "Dr Feelgood" with the horn section in attendance contrasts with standards like Duke Ellington's "I Let A Song Go Out Of My Heart" which is afforded a straight-ahead treatment elevated by a touch of accelerando mid-way through. The final track, "Don't Be On The Outside" is denoted as a bonus track since it's the only live track on the album, setting it apart from the preceding 11 numbers. In 2016, Gibbons supported George Benson and Gladys Knight on their sell-out tours including two nights at London's Royal Albert Hall. Those prestigious concerts were just another sign that her star is rising. Possessed of a powerfully soulful voice, she is undoubtedly maturing into one of Britain's finest singing talents and this album, replete with stellar arrangements, is another testament to that fact. ~ Roger Farber https://www.allaboutjazz.com/is-it-me-polly-gibbons-resonance-records-review-by-roger-farbey.php

Personnel: Polly Gibbons: vocals; Tamir Hendelman: piano; James Pearson: piano; Shedrick Mitchell: Hammond Organ; Graham Dechter: guitar; Kevin Axt: bass; Ray Brinker: drums; Willie Murillo: trumpet; Vinny Dawson: trumpet; Bob McChesney: trombone; Andy Martin: trombone; Bob Sheppard: alto saxophone, tenor saxophone, clarinet, flute; Brian Scanlon: alto saxophone, tenor saxophone, flute; Keith Bishop: alto saxophone, tenor saxophone, clarinet, flute; Tom Peterson: baritone saxophone, tenor saxophone.

Is It Me?

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Joan Chamorro - Terraza & friends - Joan Chamorro Presenta Andrea Motis

Styles: Vocal, Trumpet And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 75:13
Size: 172,6 MB
Art: Front

(3:43)  1. Louisiana fairy tale
(4:38)  2. Basin street blues
(5:46)  3. Over the rainbow
(5:15)  4. It's a wonderful world
(4:51)  5. Enjoy yourself
(3:44)  6. Do you know what it means to miss N.O.
(5:17)  7. Manha de carnaval
(3:19)  8. Dream a little dream of me
(4:40)  9. I'm confessin' that I love you
(6:13) 10. No more blues (chega de saudade)
(3:27) 11. The nearness of you
(2:42) 12. L.O.V.E.
(4:28) 13. Smile
(4:13) 14. On the sunny side of the street
(4:42) 15. My one and only love
(5:02) 16. Sweet Lorraine
(3:05) 17. Bli-blip

Se formó musicalmente, a partir de los 7 años, en la Escola Municipal de Música de Sant Andreu, un barrio de Barcelona, como trompetista primero y saxofonista después. En 2007, con sólo 12 años, comenzó a colaborar con el grupo de jazz Sant Andreu Jazz Band, dirigido por el profesor de música y músico Joan Chamorro. Ha participado en numerosos conciertos del circuito catalán de jazz. Debido a su precocidad numerosos medios de comunicación la han entrevistado o han escrito reseñas de su actividad musical. Su voz se ha comparado con la de Norah Jones. En 2010, con solo 15 años, graba como cantante solista un disco de estándares de jazz titulado Joan Chamorro presenta Andrea Motis. 

Recientemente ofrece conciertos en el denominado "Andrea Motis & Joan Chamorro Group".Logró a estar entre los 10 finalistas de los premios "Català de l'any 2011" otorgados por "El Periódico de Catalunya". Pero rechazó seguir adelante, según declararon sus padres, porque esa candidatura llegaba "en una etapa inadecuada de su vida".Con 17 años pasó unas pruebas para una escuela de artísticos llamada Oriol Martorell, situada en Nou Barris, Barcelona. Allí terminó de formarse profesionalmente. Bio ~ http://es.wikipedia.org/wiki/Andrea_Motis

Featuring: Andrea Motis (tp, vcl), Joan Chamorro (bs), Bobby Gordon (cl), Eva Fernandez (ss, as), Iscle Datzira (ts), Dani Alonso (tb), Josep Traver (g, ukelele), David Mengual, Manel Alvarez (b), Steve Pi, Olivier Roque (d), Sant Andreu Jazz Band

Joan Chamorro Presenta Andrea Motis

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Gil Evans - The Individualism Of Gil Evans

Styles: Piano Jazz
Year: 1964
Time: 68:18
File: MP3 @ 320K/s
Size: 167,0 MB
Art: Front

( 7:28) 1. Time of the Barracudas
(10:02) 2. The Barbara Song
( 6:38) 3. Las Vegas Tango
(12:32) 4. A. Flute Song, B. Hotel Me
( 3:30) 5. El Toreador
( 3:59) 6. Proclamation
( 2:40) 7. Nothing Like You
( 7:42) 8. Concorde
(13:45) 9. Spoonful

Although Gil Evans had gained a lot of acclaim for his three collaborations with Miles Davis in the 1950s and his own albums, this CD contains (with the exception of two tracks purposely left off), Evans's only dates as a leader during 1961-68. The personnel varies on the six sessions that comprise the CD (which adds five numbers including two previously unreleased to the original Lp) with such major soloists featured as tenorman Wayne Shorter, trombonist Jimmy Cleveland, trumpeter Johnny Coles and guitarist Kenny Burrell. Highlights include "Time of the Barracudas," "The Barbara Song," "Las Vegas Tango" and "Spoonful." Highly recommended to Gil Evans fans; it is a pity he did not record more during this era.By Scott Yanow
https://www.allmusic.com/album/the-individualism-of-gil-evans-mw0000194738#review

Personnel: Gil Evans – piano, arranger; Johnny Coles – trumpet (Solo); Thad Jones – trumpet; Ernie Royal – trumpet; Bernie Glow – trumpet; Louis Mucci – trumpet; Jimmy Knepper – trombone; Frank Rehak – trombone; Jimmy Cleveland – trombone (Solo); Tony Studd – trombone;Bill Barber – tuba; Wayne Shorter – tenor sax (Solo); Phil Woods – alto sax (Solo); Eric Dolphy – woodwinds (flute, bass clarinet, alto sax); Steve Lacy – soprano sax; Jerome Richardson – reeds, woodwinds; Bob Tricarico – reeds, woodwinds; Al Block – woodwinds (flute solo); Garvin Bushell – reeds, woodwinds; Andy Fitzgerald – reeds, woodwinds; George Marge – reeds, woodwinds; Julius Watkins – French horn; Gil Cohen – French horn; Don Corado – French horn; Bob Northern – French horn; Jimmy Buffington – French horn; mRay Alonge – French horn; Pete Levin – French Horn; Harry Lookofsky – tenor violin; Bob Maxwell – harp; Margaret Ross – harp; Kenny Burrell – guitar (Solo); Barry Galbraith – guitar; Gary Peacock – bass; Ron Carter – bass; Paul Chambers – bass; Richard Davis – bass; Ben Tucker – bass; Milt Hinton – bass; Elvin Jones – drums (Solo); Osie Johnson – drums.

The Individualism Of Gil Evans

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Steve Kuhn Trio - Jazz'n (E)Motion

Styles: Piano Jazz
Year: 2000
Time: 63:39
File: MP3 @ 128K/s
Size: 60,1 MB
Art: Front

(3:42) 1. Once Upon A Time
(7:34) 2. Last Tango in Paris
(6:36) 3. Lonely Town
(6:57) 4. The Night Has A Thousand Eyes
(3:46) 5. Love Is For The Very Young
(6:46) 6. Emily
(6:03) 7. The Rain Forest
(5:53) 8. The Pawnbroker
(5:10) 9. This Is New
(7:27) 10. Invitation
(3:40) 11. Smile

Steve Kuhn (born March 24, 1938, Brooklyn, New York City) is an American jazz pianist, composer and trio leader.

He began studying piano at the age of five and studied under Boston piano teacher Margaret Chaloff, mother of jazz baritone saxophonist Serge Chaloff, who taught him the "Russian style" of piano playing. At an early age he began improvising classical music. As a teenager he appeared in jazz clubs in the Boston area, gigging with the likes of Coleman Hawkins, Vic Dickerson, Chet Baker, and Serge Chaloff.

He graduated from Harvard and attended the Lenox School of Music where he was associated with such other future jazz masters as Ornette Coleman, Don Cherry, and Gary McFarland, with a supportive faculty that included George Russell, Gunther Schuller, the Modern Jazz Quartet members, and Bill Evans. This allowed Kuhn to play, study, and create with some of the most forward-thinking innovators of jazz improvisation and composition, culminating with his joining trumpeter Kenny Dorham's group for an extended time and (briefly) John Coltrane's quartet at New York's Jazz Gallery club. He also has appeared with Stan Getz, Art Farmer, Oliver Nelson, Gary McFarland, Ron Carter, Scott LaFaro, Harvie Swartz, vocalist Shelia Jordan, Billy Drummond, David Finck, and Miroslav Vitous.

From 1967 to 1971 Kuhn moved to Stockholm, Sweden where he worked with his own trio throughout Europe. In 1971 Kuhn moved back to New York and formed a quartet but continued doing European gigs, and appearing at the Newport Jazz Festival. In his early years, Kuhn was known as an 'avant-garde' pianist (but not "New Thing"). Kuhn was associated with bassist Steve Swallow and drummer Pete La Roca (Sims) during the 1960s for several notable recordings: Three Waves under Kuhn's leadership, Basra under La Roca's leadership which also featured Joe Henderson, and Sing Me Softly Of The Blues under the leadership of flugelhornist Art Farmer.

Also notable was Kuhn's inclusion in the quartet on the landmark recording Sound PIeces led by saxophonist, composer, and arranger Oliver Nelson and including Ron Carter on bass and Grady Tate on drums. Among other notable recordings which were also critically acclaimed was The October Suite composed by Gary McFarland or Kuhn and an ensemble which included strings, woodwinds, and reeds. A CD Promises Kept featuring Kuhn's compositions, piano, and strings. For decades, Steve Kuhn has led all-star trios that have included such players as bassists Ron Carter and David Finck, and drummers Al Foster, Jack DeJohnette, and Joey Baron.He has had several live recordings made in some of New York's leading jazz clubs.https://www.jazzmusicarchives.com/artist/steve-kuhn

Jazz'n (E)Motion

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Merry Christmas And A Happy New Year

It's the most wonderful time of the year!

Have yourself a Merry little Christmas, let your heart be light.

May this Christmas season bring you closer to all those that you treasure in your heart.

Wishing you and your family health, happiness, peace and prosperity this Christmas and in the coming New Year.

Have a Merry Christmas and a Happy New year!

Giullia

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Melissa Stylianou,Gene Bertoncini,Ike Sturm - Dream Dancing

Styles: Vocal Jazz
Year: 2022
Time: 47:15
File: MP3 @ 320K/s
Size: 110,0 MB
Art: Front

(3:57) 1. Sweet And Lovely
(4:50) 2. If You Never Come To Me
(5:17) 3. My Ideal
(3:20) 4. It Could Happen To You
(4:29) 5. For Chet
(3:30) 6. Perdido
(4:58) 7. Corcovado
(5:24) 8. Time's A-wastin'
(5:45) 9. My One And Only Love
(5:41) 10. It Might As Well Be Spring

Vocalist Melissa Stylianou, guitarist Gene Bertoncini, and bassist Ike Sturm make for a canorous combination. A working trio elevated by keen conversational rapport and an embrace of spur-of-the-moment suggestions, theirs is quite simply a perfect partnership.

With supreme skill and creative charm(s), these three turn old favorites into new treasures. Stylianou shines across opener “Sweet and Lovely,” the first of several pieces benefiting from bantering string dialogue and interplay. Voice and guitar glide together at the outset of “My Ideal,” which later surprises with the insertion of the bridge from “The Man I Love.” A perky “Perdido” makes a swinging case for this outfit’s lighthearted genius. The leader captivates with some pure-voiced Portuguese on “Corcovado.” And everybody operates with apt anticipation during “It Might as Well Be Spring.”

Though standards for trio are the obvious order of the day, there are notable exceptions in programming and performance that focus on the bonds behind and within the music. Bertoncini’s affecting “For Chet,” a composition paying tribute to Chet Baker, offers a glimpse into the guitarist’s rich past, which saw work with that storied trumpeter as well as many other legends of the music.

A pair of voice-and-bass beauties “It Could Happen to You” and a rightly bluesy “Time’s A-Wastin’” (a.k.a. “Things Ain’t What They Used to Be”) speak to a chemistry developed over the course of many years and shared experiences. Stylianou’s rendezvous with Bertoncini on “My One and Only Love” nods to that pair’s first musical encounter some 14 years ago, when mutual connection Sturm made the introduction. The music, of course, took care of the rest, as it does to this very day.
By Dan Bilawsky https://jazztimes.com/reviews/albums/melissa-stylianou-featuring-gene-bertoncini-ike-sturm-dream-dancing-anzic/

Dream Dancing

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Hilary Gardner & Ehud Asherie - The Late Set

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 36:20
Size: 85,0 MB
Art: Front

(4:12)  1. Shadow Waltz
(4:58)  2. Sweet And Slow
(5:18)  3. A Ship Without A Sail
(4:04)  4. After You’ve Gone
(3:46)  5. I Never Has Seen Snow
(3:34)  6. I Used To Be Color Blind
(3:05)  7. Everything I’ve Got
(3:29)  8. Make Someone Happy
(3:52)  9. Seems Like Old Times

If you're looking for the definition of a class act, look no more. This is most certainly it. With The Late Set, kindred spirits Hilary Gardner and Ehud Asherie make us simultaneously pine for an era long gone and appreciate what's right in front of us. If you've followed either one of these artists, their simpatico sensibilities should come as no shock. Gardner delivered one of the most meaningful paeans to New York in recent memory with The Great City (Anzic Records, 2014), graced a Broadway stage to lend her voice to Twyla Tharp's Frank Sinatra-focused Come Fly With Me, continues to share the vocal spotlight with fellow charmer John Dokes in the George Gee Swing Orchestra, and matches wits with gal pals Melissa Stylianou and Amy Cervini in Duchess, a Boswell Sisters-inspired trio that's made its mark in the past few years. Asherie, having delved into days gone by with tenor saxophonist Harry Allen, multi-reedist Ken Peplowski's quartet, and all by his lonesome, has carved out his place as one of the finest pianistic purveyors of aged gems operating today. Both of these artists, while walking different paths, always stand out as old souls and valuable exponents of what the Great American Songbook can offer and teach us. That fact is magnified when they join forces. If you've been lucky enough to see this pair live, the magic needs no explanation. 

They put across a winning blend of casual expression and sophisticated artistry that's self-evident. Everything they create comes out as fine art without the slightest hint of artifice. This recording, presenting nine vintage numbers shaped with nuance and care, emphasizes that point and captures the spirit of their live shows. Most of the selections presented here are deep catalog chestnuts from our finest composers and songwriting teams, widely acknowledged or not. Al Dubin and Harry Warren make it onto the scorecard first with "Shadow Waltz," an album opener that gently glides along while referencing how old songs take on new meaning in love's hands, and "Sweet And Slow," a piece that musically mirrors its advice to get off the fast track and appreciate the simple pleasures of time spent with another. The former proves to be a perfect scene-setter for this pair while the latter remains as relevant today as it was eight decades ago. Those who prefer to take comfort in the familiar will likely connect with "After You've Gone," penned by Henry Creamer and Turner Layton; "Make Someone Happy," delivered unto us from Betty Comden, Adolph Green, and Jule Styne; and "Everything I've Got," written by Richard Rodgers and Lorenz Hart. But the majority of this material doesn't play toward popularity. Instead, Gardner and Asherie usually take the roads less traveled, covering those songs that we don't necessarily encounter very often. In many cases, it's those numbers that possess the stronger draw and deeper connective strengths. The depressive threads sewn into Rodgers and Hart rarity "A Ship Without A Sail," for example, can't help but appeal to the soul through sympathy. This is the kind of album that can both connect to modern times and hold high appeal as a throwback statement. ~ Dan Bilawsky https://www.allaboutjazz.com/the-late-set-hilary-gardner-anzic-records-review-by-dan-bilawsky.php

Personnel: Hilary Gardner: vocals; Ehud Asherie: piano.

The Late Set

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The Las Vegas Boneheads - Attack Of The Wind Driven Pitch Approximators

Bitrate: MP3@320K/s
Time: 74:09
Size: 169.8 MB
Styles: Big band, Swing
Year: 2017
Art: Front

[3:15] 1. Springsville
[6:30] 2. If I Only Had A Brain
[3:20] 3. Attack Of The Wind Driven Pitch Approximators
[7:12] 4. Antoine
[4:51] 5. Limehouse Blues
[4:41] 6. Airegin
[7:53] 7. Groove Merchant
[5:36] 8. Jeannine
[4:42] 9. I Loves You Porgy
[7:26] 10. Caravan
[7:13] 11. Gaea
[6:54] 12. The Healer
[4:30] 13. Crooked Smile

Curt Miller - Trombone - Leader; Matt Johnson - Trombone; Nathan Tanouye - Trombone; Nate Kimball - Trombone; Sonny Hernandez - Bass Trombone; Ralph Pressler - Bass Trombone; Andrew Boostrom - Trombone (on "Attack of the WDPA"); Uli Geissendoerfer - Piano; Steve Flora - Bass; Larry Aberman - Drums.

The Boneheads—originally founded by Abe Nole in the early 1960’s—had six trombones and three rhythm players (piano, bass, and drums). The founding members were professional trombone players in the Las Vegas showrooms and consisted of Abe Nole, Charlie Loper, Archie LeCoque, Tommy Hodges, Pat Thompson and Bill Smiley. They rehearsed on the second floor of the old Silver Slipper on The Las Vegas Strip and occasionally at Abe’s home.

By the early 1970's (Generation 2) the group typically rehearsed backstage at the Frontier Hotel, or the at the Village Pub, and had changed personnel. At that time the tenor trombones were Bill Booth, Jim Huntzinger, Ed Morgan and the legendary Carl Fontana. The bass trombones were Bill Rogers and Ralph Pressler. The musicians would work two shows per night, six or seven nights a week, and then get together after hours for their own enjoyment. They would perform with every star on the strip, from Sinatra’s Rat Pack to Elvis and numerous production shows.

Other trombone players that were members of the group during the late 70’s and early 80’s (Generation 3) were Curt Miller, Dick McGee, Bob Scann, Ron Sprouse, Jimmy Trimble, Marty Harrell, Dick “Stretch” McQuary, Dwight Davis and “Hoot” Peterson. “Stretch” arranged a number of Bobby Brookmeyer compositions in the early 1970’s that eventually became the foundation of the “new” Boneheads’ book.

The group and the book disappeared sometime in the mid 1980’s and was not heard from again until 2011 when Curt Miller decided to reconstruct the nearly fifty-year-old ensemble. Such notable composers/arrangers as Gary Anderson, Jim Belk , Steve Flora, Nate Kimball, Curt Miller, and Barry Ross have contributed new charts to the book and updated the concept of the group.

The group has become known as the “ultimate trombone band” – the players always jump at the chance to play with the group. Curt Miller is the leader and coordinator of the group, and the players that routinely play with the group are Matt Johnson, Nate Kimball, Nathan Tanouye, Sonny Hernandez, Ralph Pressler, and Andrew Boostrom. The rhythm section is comprised of Uli Geissendoerfer on piano, Steve Flora on bass and Larry Aberman on drums.. With the exception of a few live recordings, the group had never formally recorded anything, so we decided to take on the first CD project - 55 years after the inception of the group! I am humbled to be the current curator of a group so rich in history!
Curt Miller

Attack Of The Wind Driven Pitch Approximators

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Jacky Terrasson - Moving On

Styles: Jazz
Year: 2024
Time: 53:33
File: MP3 @ 320K/s
Size: 123,3 MB
Art: Front

(4:45) 1. Besame Mucho
(3:30) 2. Est-ce que tu me suis ?
(2:45) 3. Moving On
(4:02) 4. Misty (NYC Take)
(2:57) 5. R&B
(4:01) 6. Happy
(3:36) 7. Solar
(4:55) 8. Love Light
(3:12) 9. My Baby Just Cares for Me (Pompignan Take)
(4:34) 10. Enfin
(3:30) 11. I Will Wait for You
(2:16) 12. Go Round
(4:12) 13. Af006
(4:19) 14. Edit (piaf)
(0:53) 15. Theme from New York, New York

Jacky Terrasson’s music has always been a marvelous melding of the complex and the understated. Moving On, his latest album, demonstrates both sides of this equation with fantastic results. There’s so much going on here. The theme of this recording comes from the pianist’s move back to France after spending a good portion of his career in New York City. The music demonstrates his love for both the push and pull of life. And the 15 songs on this set add to that yin–yang dichotomy, with two trios playing the tunes.

Bassist Sylvain Romano and drummer Lukmil Perez, the French trio, join Terrasson for six tunes. Bassist Kenny Davis and Alvester join him as the American trio. The music is complex, but in the pocket. His pianism serves both trios well, as Terrasson plays challenging passages with such ease that the listener can just sit back and feel a rush of sound wash over them. Terrasson kicks off the album with his French trio’s total and impressive reimagining of “Beseme Mucho,” the classic bolero written by Consuelo Velázquez.

Terrasson, Romano and Perez take the tune at a heartbreaking adagio, giving it an almost classical reverence. On the flip side, the American trio delivers the album’s title track as a fast-paced, raise-the-roof, feel-good jam demonstrating all the excitement that a new chapter in one’s life can offer. It’s a Terrasson original that flows with positive vibes, as do many of his compositions, like “R&B” or the slow-burning “Edit (Piaf)” from the album. Terrasson also treats us to some really great guest spots and standards.

Grégoire Maret joins in on truly fun version of the mega-hit “Happy,” complete with vocal spots by Camille Bertault and Karen Guiock Thuram. Drummer Billy Hart steps in for a turn on “Misty (NYC Take).” Other treats include “My Baby Just Cares For Me” with a terrific guest vocal by Guiock-Thuram; Est-ce que tu me suis?” with another terrific vocal by Bertault; and “Enfin,” a Terrasson original with Maret guesting. Hart also takes the drum chair for the album’s outro, “Theme From New York, New York.” It’s a fitting 53-second ditty to wrap up a thoughtful set that says “goodbye and thanks” to one home and “hello, can’t wait to see you” to a new one Terrasson’s love letter is beautifully delivered to both.By Frank Alkyer
https://downbeat.com/reviews/detail/moving-on

Moving On

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Scott Hamilton, Paolo Birro, Alfred Kramer, Aldo Zunino - Cinerama

Styles: Saxophone Jazz
Year: 2024
Time: 64:10
File: MP3 @ 320K/s
Size: 147,8 MB
Art: Front

(6:44) 1. Three coins in the fountain
(8:53) 2. I will wait for you
(5:35) 3. Love theme from Point Blank
(6:41) 4. Wives and lovers
(7:38) 5. On Green Dolphin street
(7:03) 6. Two for the road
(8:50) 7. Close enuogh for love
(5:25) 8. I love you, Samantha
(7:18) 9. Manha de Carnaval

A swinging tenor saxophonist with a warm tone and supple feel, Scott Hamilton first emerged in the '70s playing a style that hearkened back to the pre-bebop sound of artists like Ben Webster and Zoot Sims. It was a style that helped Hamilton stand out from his contemporaries, especially during the electrified era of fusion jazz. Signed to Concord, he issued a string of celebrated albums for the label, like 1977's Swinging Young Scott, 1979's Tenorshoes, and 1986's The Right Time, all of which showcased his knack for acoustic jazz, blues, and standards. He gained respect from both contemporary players and veterans, famously touring as a member of legendary clarinetist and bandleader Benny Goodman's small group. Along with contemporaries like cornetist Warren Vache, saxophonist Harry Allen, and saxophonist Scott Robinson, he has continued to keep older jazz traditions alive, playing with swing veterans like guitarist Bucky Pizzarelli, as he did on 1998's Red Door: Remember Zoot Sims, and issuing elegant sessions from his adopted home of Italy, like 2019's Danish Ballads & More.

Born in 1954 in Providence, Rhode Island, Hamilton first became interested in jazz while listening to his father's record collection. Initially starting out on drums at age five, he also played piano, harmonica, and clarinet before settling on tenor saxophone at around age 16. Influenced by players like Johnny Hodges, Ben Webster, Coleman Hawkins, and Zoot Sims, he progressed quickly and by the time he graduated high school, was already playing gigs and sitting in at clubs. It was during these early years that he met and sat in with legendary swing trumpeter Roy Eldridge at a club in Boston. Eldridge encouraged the up-and-coming saxophonist to move to New York, which Hamilton did in 1976 at the age of 22. There, he picked up a six-week stint playing at Michael's Pub, and was able to meet and work with other veteran jazz luminaries like Hank Jones, Vic Dickenson, Anita O'Day, and Illinois Jacquet, among others.

In 1977, he made his recorded debut for Concord with Scott Hamilton Is a Good Wind Who Is Blowing Us No Ill, featuring trumpeter Bill Berry, pianist Nat Pierce, bassist Monty Budwig, and drummer Jake Hanna. More albums followed on the label, including Scott II, Scott Hamilton and Warren Vache (With Scott's Band in New York), and 1979's Tenorshoes. Also during this period, he joined Benny Goodman's small group, playing with the legendary bandleader as well as Vache, guitarist Chris Flory, and others throughout the late '70s and early '80s. Hamilton kept the traditional jazz torch burning through the '80s, issuing albums like 1982's Close Up, 1985's First Up with cornetist Ruby Braff, and 1986's Major League with Jake Hanna and Dave McKenna. There were also dates with Flip Phillips, Benny Carter, and the Concord All-Stars. In 1986, he earned a Grammy nomination for his contribution to Gerry Mulligan's album Soft Lights & Sweet Music.

In the '90s, Hamilton moved to England, settling in London and forming a quartet with pianist John Pearce, bassist Dave Green, and drummer Steve Brown. Nonetheless, he remained connected to Concord, releasing albums like 1993's East of the Sun, 1995's My Romance, and 1997's After Hours. He also paired for albums with guitarist Bucky Pizzarelli, guitarist Jimmy Bruno, and vocalist Rosemary Clooney. Jazz Signatures arrived in 2001 and featured songs by some of Hamilton's favorite artists like Illinois Jacquet, Benny Carter, and Don Byas. He paired with fellow saxophonist Harry Allen for 2004's Heavy Juice and joined pianist Bill Charlap, bassist Peter Washington, and drummer Kenny Washington for 2005's Back in New York.

Sometime in the late 2000s, Hamilton moved to the Tuscany region of Italy where he remained active touring. He also rounded out his long association with Concord by releasing 2006's Nocturnes & Serenades and 2008's Across the Tracks. Following his move to Italy, Hamilton issued a string of albums on smaller labels including 2010's Midnight at NOLA's Penthouse with pianist Rossano Sportiello, 2011's A Splendid Trio with guitarist Howard Alden, and 2012's 'Round Midnight with saxophonist Harry Allen. He also recorded projects with Jan Lundgren, Karin Krog, and Andrea Pozza. He collaborated with pianist/vocalist Champian Fulton for 2017's Things We Did Last Summer, and returned the following year with the quartet date Moon Mist, featuring pianist Dena DeRose, bassist Ignasi Gonzalez, and drummer Jo Krause. Another quartet date, Danish Ballads & More, arrived in 2019. By Matt Collar https://www.amazon.com/Two-for-the-road/dp/B0DJRN1SHW

Personnel: Scott Hamilton (sax), Paolo Birro (piano), Aldo Zunino (double bass) and Alfred Kramer (drums).

Cinerama

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