Showing posts with label Scott Hamilton. Show all posts
Showing posts with label Scott Hamilton. Show all posts

Wednesday, January 1, 2025

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

Sunday, December 22, 2024

Scott Hamilton - Looking Back

Styles: Contemporary Jazz
Year: 2024
Time: 63:53
File: MP3 @ 320K/s
Size: 158,8 MB
Art: Front

(6:24) 1. I've Grown Accustomed to her Face
(6:17) 2. The Maids of Cadiz
(7:18) 3. Beyond the Bluebird
(5:42) 4. Big Tate
(4:40) 5. Rockin' Chair
(6:46) 6. Noblesse
(6:10) 7. Tune Up
(7:24) 8. Hey There
(5:40) 9. Shadowland
(7:28) 10. On a Clear Day

In Looking Back, Scott Hamilton takes us on a journey through time, reflecting on a career forged by solo excellence and the bonds of collaboration. The seventy-year-old tenor saxophonist, known for his deep connection to the jazz tradition, has crafted a ten-track album reflecting his artistic journey and the many jazz giants and fellow musicians who have shaped his sound. Hamilton, alongside his Scandinavian quartet—Jan Lundgren on piano, Hans Backenroth on bass, and Kristian Leth on drums—delivers a set based on dialogue between musical friends. Their common jazz language allows the quartet to move as a unit, each player indispensable, each a flowing performance in the intricate hard-bop conversation.

The album opens with “I’ve Grown Accustomed to Her Face,” immediately, the ballad tempo shines with the atmosphere of collaboration that defines Looking Back. Hamilton’s tenor is smooth and lyrical, but the gentle brushwork from Leth and the rich harmonic bed laid by Backenroth and Lundgren support his playing’s elegance. This isn’t a one-man show; it’s a shared experience, a weaving together of individual voices that builds into something greater. Hamilton’s phrasing is poignant and deliberate, as Lundgren’s subtle piano voicings, Leth’s fluid brushes, and Backenroth’s steady bass interact and support his performance into a cohesive story.

In “The Maids of Cadiz,” the musical conversation deepens. Hamilton’s melodic lines are built with impeccable phrasing, creating an interplay that is about giving space between each phrase for breathing and ensemble interaction. When Backenroth and Leth follow these musical exhales, they frame Hamilton’s tenor, giving it the space and support to take flight. Lundgren’s accompaniment mirrors Hamilton’s harmonic playfulness, echoing his lines while adding subtle harmonic approaches that keep the listener engaged. There’s an undeniable sense of trust in this ensemble, a confidence allowing each musician to push and pull against the time without losing their sense of unity.

“Big Tate,” Hamilton’s original blues, showcases the band at its most expressive. Hamilton opens unaccompanied, his tenor saxophone filling the space with warmth and authority before the rest of the quartet eases into a medium swing groove. The entire ensemble moves with a sense of relaxed precision, letting the groove unfold naturally. The connection between Leth’s drumming and Backenroth’s bass is particularly evident here they create a rhythmic bedrock that gives Hamilton and Lundgren the freedom to explore without hesitation. Lundgren’s piano solo is full of rhythmic motifs and bluesy color, and as the piece develops, it becomes clear that each player knows exactly when to lead, when to follow, and when to simply listen.

In “Tune Up,” the quartet embraces a more up-tempo swing, but again, the emphasis is on how the musicians interact rather than individual virtuosity. Hamilton’s approach centers on the fluid language of hard bop, his lines moving effortlessly to emphasize chord tones with creative approach embellishments. The beauty of this track lies in Hamilton’s nimble phrasing and the way Leth, Lundgren, and Backenroth react to it—they are in constant dialogue, taking their cues from Hamilton’s improvisational melodic and rhythmic choices and adding their own voices to the conversation.

“Shadowland,” a waltz ballad, brings a different expression into the album. The 3/4 time signature allows the ensemble to explore a more expansive soundscape, with each player contributing thoughtfully to the overall texture. Hamilton’s tenor sings through the melody with gentle grace, while Lundgren’s piano lines provide a shimmering backdrop full of subtle harmonic shifts. Backenroth and Leth work together to create a rhythmic flow that is both steady and dynamic, giving the music a sense of movement that is deeply evocative. Hamilton and Lundgren’s solos focus on constructing clear, lyrical melodies, making “Shadowland” a highlight of the quartet’s shared sensitivity and musical maturity.

“On a Clear Day” shifts the mood to a Latin jazz feel. The rhythm section lays down a gentle sway, with Leth’s understated percussion providing a steady backdrop for Hamilton’s tenor. The ensemble switches to a swing feel for the solos. Backenroth’s bass anchors the harmony, while Lundgren’s delicate comping fills in the spaces, ensuring that Hamilton’s swinging solo lines are supported and developed. Hamilton shows off his lyrical phrasing, each note carefully shaped and articulated, delivering a performance that truly shines in its subtle interaction within the quartet.

Looking Back features a classic hard-bop chemistry that is undeniable and irresistible. The ensemble is skilled in shining as individuals and as parts of a greater whole, with each member enhancing the others’ contributions. Hamilton’s rich, warm tone and lyrical phrasing are at the forefront, but this is an album about the collective experience about how each member of this quartet brings something unique to the jazz expression. The album reflects Hamilton’s lifelong devotion to the classic virtues of jazz, while the Scandinavian quartet’s contributions ensure that the music remains vibrant, contemporary, and alive. The interplay, the shared breaths, and the moments of spontaneous creation make Looking Back standout as a love letter to jazz, collaboration, and the enduring legacy of their shared musical journey. By Nolan DeBuke
https://thejazzword.com/2024/11/scott-hamilton-looking-back-review/

Looking Back

Thursday, December 19, 2024

Ruby Braff, Scott Hamilton - For The Last Time

Album: For The Last Time Disc 1

Styles: Cornet And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 59:32
Size: 137,1 MB
Art: Front

(12:15)  1. Sometimes I'm Happy
( 4:57)  2. Why Shouldn't I'
(12:24)  3. Just You, Just Me
(15:58)  4. I Want a Little Girl
(13:56)  5. Rockin' Chair

Ruby Braff's discographer Thomas P. Hustad addresses the concern posed by this album in his liner notes when he speaks of the "trepidation" with which "we tend to approach any musician's final recording." Tenor saxophonist Scott Hamilton, whose contribution approaches Braff's own, had his own hesitations, based on his unhappy memories of the gig, at the Nairn Jazz Festival in Scotland, as Braff, suffering from the emphysema that would kill him six months later, required a fan on-stage to help his breathing. But Hamilton withdrew his objections when he actually heard the recording, which shows little evidence of the leader's infirmity. It gives plenty of evidence of a group of sympathetic musicians accustomed to playing together, taking their orders from Braff, who seems to call for the solos and also decide when they're finished.

Everybody in the six-piece band takes those solos, as the tunes extend out to ten or even 15 minutes each. Probably, that allows time for Braff to gather himself for his own playing, but when he steps in, he is his usual self, coming up with interesting variations on the melodies of familiar standards. The best moments, though, are when Braff and Hamilton, his longtime protégé, play together at the openings of such songs as "Dinah," "Yesterdays," and "The Man I Love," with Hamilton coming up with counter-melodies. At such times, this doesn't come off as Braff's last night on-stage; it seems like just another great show in a storied career. By William Ruhlmann https://www.allmusic.com/album/for-the-last-time-mw0000801881

Musicians: Ruby Braff-cornet, Scott Hamilton-tenor saxophone, Jon Wheatley-guitar, John Bunch-piano, Dave Green-bass, Steve Brown-drums


Album: For The Last Time Disc 2

Time: 55:41
Size: 128,3 MB

(10:29)  1. Dinah
(13:08)  2. Yesterdays
(15:42)  3. The Man I Love
( 6:31)  4. The Man With a Horn
( 9:49)  5. Indiana


Monday, July 22, 2024

Chris Flory Quintet - The Chris Flory Quintet Featuring Scott Hamilton

Bitrate: MP3@320K/s
Time: 61:42
Size: 141.2 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[6:32] 1. The Lady's In Love With You
[7:26] 2. Girl Talk
[6:02] 3. Hit And Run
[5:14] 4. Born To Be Blue
[7:02] 5. Who Cares
[4:45] 6. After Hours
[4:46] 7. Moonlight In Vermont
[6:43] 8. Happy Feet
[6:03] 9. Isn't It A Lovely Day
[7:03] 10. Perdido

Chris Flory, one of the top straight ahead jazz guitarists of the past 35 years, reunites with legendary saxophonist Scott Hamilton to make a stunningly beautiful small group swing CD. The quintet includes Larry Ham on piano, Lee Hudson on bass, and Chuck Riggs on drums. Flory’s stellar career has included gigs with veteran jazz musicians such as Benny Goodman and Illinois Jacquet as well as singers Maxine Sullivan and Rosemary Clooney.

Chris Flory: guitar; Scott Hamilton: tenor saxophone; Larry Ham: piano; Lee Hudson: bass; Chuck Riggs: drums.

Guitarist Chris Flory was there in the ‘70s as one of the young musicians playing mainstream swing and, as part of that generation, he has kept the legacy of mainstream swing guitar alive while simply playing in his own musical personality. One of the top straight ahead guitarists of the past 35 years, throughout this CD, in this reunion with Scott Hamilton, Chris Flory brings out the best in Scott and vice versa, making this disc one of the high points of their recent careers. ~Scott Yanow

The Chris Flory Quintet Featuring Scott Hamilton

Sunday, June 30, 2024

Eddie Higgins Featuring Scott Hamilton & Ken Peplowski - A Handful of Stars

Styles: Piano And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 71:40
Size: 164,4 MB
Art: Front

(6:16)  1. In  Love In Vain
(6:04)  2. You Leave Me Breathless
(8:20)  3. A Handful Of Stars
(6:42)  4. Come Rain Or Come Shine
(6:14)  5. April In Torino
(8:16)  6. Night Has A Thousand Eyes
(5:39)  7. Flamingo
(6:01)  8. Breezin' Along With The Breeze
(7:17)  9. A Portrait Of Jenny
(5:28) 10. Softly As In A Morning Sunrise
(5:17) 11. All Too Soon

A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades. After growing up in New England, he moved to Chicago, where he played in all types of situations before settling in to a long stint as the leader of the house trio at the London House (1957-1969). Higgins moved back to Massachusetts in 1970 and went on to freelance, often accompanying his wife, vocalist Meredith D'Ambrosio, and appearing at jazz parties and festivals. Eddie Higgins has led sessions of his own for Replica (1958), Vee-Jay (1960), Atlantic, and Sunnyside; back in 1960, he recorded as a sideman for Vee-Jay with Lee Morgan and Wayne Shorter.
By Scott Yanow https://itunes.apple.com/us/artist/eddie-higgins/id80690717#fullText


Personnel: Eddie Higgins – piano; Scott Hamilton - tenor sax; Ken Peplowski - tenor sax; clarinet; Jay Leonhart – bass; Joe Ascione - drums

A Handful of Stars

Tuesday, June 11, 2024

Scott Hamilton, Ken Peplowski & Spike Robinson - Groovin' High

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 65:13
Size: 150,2 MB
Art: Front

(4:52)  1. Blues Up And Down
(5:06)  2. You Brought A New Kind Of Love To Me
(7:31)  3. That Ole Devil Called Love
(5:08)  4. Shine
(7:30)  5. The Goof And I
(7:00)  6. What's New
(7:14)  7. I'll See You In My Dreams
(8:27)  8. Groovin' High
(5:42)  9. Body And Soul
(6:37) 10. The Jeep Is Jumpin'

Fans of jam sessions and tenor battles will definitely want this CD. Tenors Scott Hamilton, Ken Peplowski and Spike Robinson (constantly pushed by the brilliant rhythm section of pianist Gerry Wiggins, guitarist Howard Alden, bassist Dave Stone and drummer Jake Hanna) take turns raising the temperature on such viable devices as "Blues Up and Down," "Shine," "I'll See You In My Dreams" and "The Jeep Is Jumpin'." Robinson (easily the oldest of the trio of tenors) gets a slight edge and generates the most heat, but the saxophonists actually complement each other quite well. A consistently exciting set.
By Scott Yanow http://www.allmusic.com/album/groovin-high-mw0000077010

Personnel: Scott Hamilton (tenor saxophone); Ken Peplowski (tenor saxophone); Spike Robinson (tenor saxophone); Howard Alden (guitar); Gerald Wiggins, Gerry Wiggins (piano); Jake Hanna (drums).

Groovin' High

Saturday, April 20, 2024

Scott Hamilton, Dena DeRose - The Shadow of Your Smile

Styles: Saxophone And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 36:13
Size: 83,8 MB
Art: Front

(10:18) 1. Blue Hodge
( 6:28) 2. The Shadow of Your Smile
( 8:22) 3. How Deep Is the Ocean
( 7:06) 4. Summer Wind
( 3:58) 5. La Rosita Ii

As you well know, last May we launched Scott Hamilton's album; La Rosita. Well, we have a surprise for Scott Hamilton fans, and that is that we had an ace up our sleeve: a second part of that wonderful concert that was recorded live at the Espai de la Música Mestre Vila de Benicàssim during the Seminar Jazz International held in December 2015.

We present you “The shadow of your smile”, a work that is undoubtedly at the level of his partner “La Rosita”, and that forms a perfect tandem with him. Both collect together the exquisite concert of the great Scott Hamilton, which was accompanied by Dena DeRose on piano, Ignasi González on double bass and Jo Krause on drums. ~ Translate By Google http://blaurecords.com/discos/lanzamiento-the-shadow-of-your-smile-scott-hamilton/

Personnel: Tenor Saxophone – Scott Hamilton; Piano – Dena DeRose; Bass – Ignasi González; Drums – Jo Krause

The Shadow of Your Smile

Thursday, January 11, 2024

Harry Allen & Ken Peplowski & Scott Hamilton - Like The Brightest Star

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 69:47
Size: 165,5 MB
Art: Front

(9:58) 1. You And The Night And The Music
(7:24) 2. Like The Brightest Star
(7:39) 3. Somebody I Just Met
(8:51) 4. Topsy
(3:42) 5. It Was So Beautiful
(5:33) 6. Das Blues
(6:59) 7. The Shadow Of Your Smile
(4:59) 8. That Old Black Magic
(5:32) 9. Old Folks
(9:04) 10. Sleep

The three major masters of Tenor Saxoph, Harry Allen & Ken Peplofski & Scott Hamilton This masterpiece allows you to fully listen to the charm of the Jazz Tenor Sax in an ensemble by Solo. Recorded at The Hideaway Studio in California at February 19 & 20, 2019.
https://www.amazon.com/Like-Brightest-Star-Three-Tenors/dp/B07Y1XMMHJ

Personnel: Harry Allen Harry Allen - tenor sax; Ken Peplowski - tenor sax; Scott Hamilton - tenor sax; Tom Lanier - Tom Ranier - piano; David Stone - bass; Kevin Canner Kevin Kanner - drums

Like The Brightest Star

Monday, September 4, 2023

Joan Chamorro & Friends - Jazz House Sessions with Scott Hamilton

Styles: Mainstream Jazz, Big Band
Year: 2023
File: MP3@320K/s
Time: 74:42
Size: 172,2 MB
Art: Front

(6:12) 1. Blues Up and Down
(4:57) 2. Prisoner of Love
(6:39) 3. If I Should Lose You
(3:07) 4. Você Vai Ver
(7:30) 5. Groove Yard
(5:34) 6. Alone Together
(4:28) 7. Dizem que o Amor
(5:37) 8. Tickle Toe
(5:11) 9. Old Folks
(4:40) 10. Groovin' High
(3:45) 11. Este seu Olhar
(6:40) 12. Lotus Blossom
(4:43) 13. É Preciso Perdoar
(5:33) 14. Lester Leeps in

Since 2013 there have been many collaborations with the great tenor saxophonist Scott Hamilton. In Jazz House we have had him on many occasions. This new CD brings together themes from four sessions, themes that have not formed part of any of the albums already published:

1- A tenor battle with Joan Martí and Marçal Perramon, former musicians of the Sant Andreu Jazz Band, which recreates the atmosphere of this type of session, just as Dexter Gordon, Gene Ammons, Sonny Stitt, Johnny Griffin, Eddie Lockjaw Davis, Al Cohn, Zoot Simms, John Coltrane, Sonny Rollins, Paul Quinichette, Lester Young and Scott Hamilton himself, along with other great tenor saxophonists, played in their day

2- Some unreleased tracks from the session "Èlia Bastida meets Scott Hamilton".

3- Tracks recorded during the recording sessions of the album "Joan Chamorro presenta Alba Esteban".

4- A couple of Brazilian songs from a session we did with Alba Armengou and Vicente López.

In total, 14 songs in which Scott shows why, today, he is still one of the great tenors of the world jazz scene.https://joanchamorro.com/album/jazz-house-sessions-with-scott-hamilton

Jazz House Sessions with Scott Hamilton

Friday, September 1, 2023

Terry Gibbs Legacy Band - The Terry Gibbs Songbook

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 71:52
Size: 167,0 MB
Art: Front

(4:58) 1. Let's Go to Rio
(4:33) 2. Those Eyes, Those Lips, That Nose, That Face, That Girl
(5:08) 3. I Was Loved
(5:54) 4. Now's the Time to Groove
(4:10) 5. The House That Might Have Been
(4:27) 6. Nina
(4:47) 7. I Can Hardly Wait for Saturday Night
(5:02) 8. If I Were You
(3:18) 9. Play and Sing
(4:27) 10. Lonely Days
(4:57) 11. And That's Why They Call It the Blues
(4:33) 12. Say Goodbye
(5:53) 13. Stay with Me Tonight
(3:58) 14. If I Knew Then
(5:41) 15. Sweet Young Song of Love

Legacy Band? At age ninety-eight, vibraphonist Terry Gibbs the last remaining member of a legendary group of jazz musicians who defined the big-band era in America and helped expand and sharpen the music's vocabulary hasn't finished writing his own legacy, which is why this album is subtitled "The Terry Gibbs Songbook."

Although best known as a player, Gibbs, as it turns out, is a splendid composer as well, and wrote every one of the album's fifteen songs, adding lyrics to a couple, with verses elsewhere courtesy of Michael Dees, Arthur Hamilton, Bobby Troup, Steve Allen and Jerry Gladstone. He even sings (in his own sweet way) and plays two-finger piano on the well-named "Now's the Time to Groove." As no lyricist is named on the ballad "If I Knew Then," the presumption is that Gibbs wrote both music and lyrics to that one.

Speaking of vocalists, Danny Bacher is the main man here, and he proves an admirable fit, giving every lyric its due and sparring playfully with Gibbs on "Now's the Time." When Bacher isn't holding court, the tunes are in the capable hands of the six-member Legacy Band, trimly anchored by Gibbs' son, drummer Gerry, with the marvelous Tom Ranier on piano, Mike Gurrola on bass and a superlative two-tenor front line consisting of Scott Hamilton and Harry Allen (whose solos are unlisted but essentially interchangeable).

As for the elder Gibbs' themes, they are bright and pleasing with an emphasis on soulfulness and emotion and a handful ("Let's Go to Rio," "And That's Why They Call It the Blues," "Stay with Me Tonight," "Sweet Young Song of Love") that stand out among the herd. That's not to say that anything else is less than engaging, as each one of Gibbs' songs has a temperament and charm of its own, and his ballads are well worth one's time and awareness.

As Terry Gibbs explains in his liner notes, he never intended that an album of his music should be recorded; he simply wanted to hear one of the songs he had written while in his nineties performed by professional musicians. But after sending a copy to lyricist Alan Bergman, he writes, one thing led to another...and now fifteen of his more than two hundred compositions have been recorded by the Legacy Band. While Gibbs calls that "a fluke," most listeners would call it a stroke of good fortune. Legacy or no, these songs deserve to be heard, and Terry Gibbs' stature as a jazz legend has grown even larger because of them.
https://www.allaboutjazz.com/the-terry-gibbs-songbook-terry-gibbs-legacy-band-whaling-city-sound__8441

Personnel: Scott Hamilton: saxophone, tenor; Harry Allen: saxophone; Tom Ranier: piano; Danny Bacher: voice / vocals; Mike Gurrola: bass; Gerry Gibbs: drums.

The Terry Gibbs Songbook

Saturday, July 22, 2023

Champian Fulton - Birdsong

Styles: Vocal, Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 66:39
Size: 152,8 MB
Art: Front

(7:13) 1. Just friends
(6:36) 2. Yardbird suite
(5:32) 3. This is always
(5:40) 4. Star eyes
(5:07) 5. Quasimodo
(4:49) 6. All God's chillun got rhythm
(4:46) 7. Dearly beloved
(5:06) 8. Out of nowhere
(7:21) 9. If I should lose you
(5:00) 10. My old flame
(9:25) 11. Bluebird

Champian Fulton was introduced to alto saxophonist Charlie Parker during her stay in the womb. The New York-based pianist/vocalist's father, Stephen Fulton held a high opinion ("The most beautiful music that ever was") of Charlie Parker With Strings (Verve, 1950), so he made a cassette tape of the recording and played it during his wife Susan's pregnancy: The sound waves of Charlie Parker and Orchestra traversing maternal flesh to burst into the domain of amniotic fluid to find their way to tiny ear canals, the tympanic membranes, to the ultimate destination the pleasure centers of the growing brain, bringing (we can guess) a bright pre-birth smile that hasn't (no guessing here) faded to this day.

There may or may not have been a method to Stephen Fulton's madness. But if there was a strategy, it must have worked. Thirty some years later, Champian Fulton offers Bird Songs, a joyful celebration of Charlie Parker's centennial. Champian and Company open with "Just Friends," a tune that also sat in the introductory cut position on Parker's With Strings session. A better choice couldn't have been made. The Champian Fulton-led ensemble has a relaxed and fluid swing. Fulton's vocals feature syllables stretched like warm bread dough interspersed with interludes of a horn like sassiness. Saxophonist Scott Hamilton blows a supple and swingingly elegant solo. Fulton covers tunes written by Parker "Yardbird Suite," "Quasimodo," "Bluebird" as well as numbers that Parker made his own...

Making them her own something that Fulton is doing here in her own sweet way, whether it's "Star Eyes," its bounce coming out of the understated, old school style rhythm team, with bassist Hide Tanaka and drummer Fukushi Tainaka, or "Dearly Beloved," with Fulton comping straight up behind Hamilton's sax solo, sounding a bit like Jutta Hipp. "Out of Nowhere" features rumba rhythm and gorgeous, soft-around-the-edges flugelhorn solo from Stephen Fulton (the guy with that cassette tape), while "Bluebird" one of Bird's most recognizable melodies, closes the show with an authentic 1940s, early 1950's atmosphere.Marvelous!By Dan McClenaghan https://www.allaboutjazz.com/birdsong-champian-fulton-self-produced

Personnel: Champian Fulton: piano, Vocal; Fukushi Tainaka: drums; Hide Tanaka: bass; Stephen Fulton: flugelhorn; Scott Hamilton: saxophone, tenor.

Birdsong

Tuesday, May 2, 2023

Scott Hamilton Quartet & Harry Allen - Burghausen Jazz Festival 2007

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 88:47
Size: 205,4 MB
Art: Front

( 8:45) 1. Just You, Just Me
( 8:06) 2. Lonesome Road
( 9:18) 3. Cotton Tail
( 5:52) 4. Chelsea Bridge
( 8:43) 5. Sweet Georgia Brown
(10:06) 6. Did You Call Her Today
( 9:48) 7. Tickle Toe
( 7:02) 8. This Is All I Ask
(12:26) 9. Blues Up & Down
( 8:36) 10. Blue Caper

Scott Hamilton is the premier 'mainstream' saxophonist of today. Born in Providence, Rhode Island, in 1954, he came along at the time when the kind of jazz he loved-the small-group swing of such great stylists as Illinois Jacquet and Eddie Lockjaw Davis-was out of fashion, and largely out of the public ear. Scott's handsome sound and impeccable phrasing were a rare commodity among young jazzmen. So when he signed to Concord Records, and began making albums for label boss and mainstream advocate Carl Jefferson, it caused surprise and excitement among both devotees of the style, and in the wider musical world.

His first Concord set, [Scott Hamilton is A Good Wind Who IS Blowing Us No Ill] was made in 1977 and took it’s title from an admiring remark from veteran jazz critic Leonard Feather. But it became only the first in a long and memorable series of albums for the label, which now stretches to nearly 30 releases They feature Scoff's playing in all kinds of settings-with small groups, string orchestras, in partnership with such distinguished players as Ruby Braff and Dave McKenna, and in many other situations. The constant is Scoff's creative imagination and the beautiful, honeyed sound he gets out of the tenor saxophone.

While he acknowledges the sidelong influence of players such as John Coltrane, he continues to perform the music he loves, which first brought him into jazz - great ballads and blues, played from the heart, with the timeless virtues of swinging playing underscoring every phrase. A worldwide following of admirers wouldn't have it any other way. Long regarded a consummate interpreter of standards, Scoff Hamilton's big, warm tenor saxophone tone and unerring sense of swing have a way of making every tune he plays uniquely his own. For his latest Concord Jazz outing, Hamilton-with the help of his simpatico group featuring John Bunch (piano), Dave Green (bass), and Steve Brown (drums)-presents some of his very favorite tunes. Tunes which happen to have been penned by other great jazz players, including such legendary jazz musicians/composers as Dave Brubeck, Fats Waller, Illinois Jacquet, Benny Carter, and many others.
https://www.allaboutjazz.com/musicians/scott-hamilton

Gene Lees writes, "Stan Getz was once asked his idea of the perfect tenor saxophone soloist. His answer was, 'My technique, Al Cohn's ideas, and Zoot's time.' The fulfillment of that ideal may well be embodied in thirty-year-old Harry Allen."

BMG recording artist Harry Allen has over twenty recordings to his name. Three of Harry's CDs have won Gold Disc Awards from Japan's Swing Journal Magazine, and his CD Tenors Anyone? won both the Gold Disc Award and the New Star Award. His recordings have made the top ten list for favorite new releases in Swing Journal Magazine's reader's poll and Jazz Journal International's critic's poll for 1997, and Eu Nao Quero Dancar (I Won't Dance), the third Gold Disc Award winner, was voted second for album of the year for 1998 by Swing Journal Magazine‚s reader‚s poll.

Harry has performed at jazz festivals and clubs worldwide, frequently touring the United States, Europe, and the Far East. He has performed with Rosemary Clooney, Ray Brown, Hank Jones, Frank Wess, Flip Phillips, Scott Hamilton, Harry 'Sweets' Edison, Kenny Burrell, Herb Ellis, John Pizzarelli, Bucky Pizzarelli, Gus Johnson, Jeff Hamilton, Terry Gibbs, Warren Vache, and has recorded with Tony Bennett, Johnny Mandel, Ray Brown, Tommy Flanagan, James Taylor, Sheryl Crow, Kenny Barron, Dave McKenna, Dori Caymmi, Larry Goldings, George Mraz, Jake Hanna, and Al Foster, among others.

Harry is featured on many of John Pizzarelli's recordings including the soundtrack and an on-screen cameo in the feature film The Out of Towners starring Steve Martin and Goldie Hawn. He has also done a series of commercials for ESPN starring Robert Goulet.

Harry was born in Washington D.C. in 1966, and was raised in Los Angeles, CA and Burrillville, RI. He received a Bachelor of Arts degree in music in 1988 from Rutgers University in New Jersey, and currently resides in New York City.
https://www.allaboutjazz.com/musicians/harry-allen

Personnel: Scott Hamilton - tenor sax; Harry Allen - tenor sax; Olaf Polziehn - piano; Dave Green - bass; Steve Brown - drums

Burghausen Jazz Festival 2007

Sunday, April 16, 2023

Scott Hamilton - At PizzaExpress Live - In London 2023

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 91:24
Size: 216,3 MB
Art: Front

( 8:52) 1. The Breeze & I
( 9:22) 2. Black Velvet
(12:47) 3. Poinciana
(12:19) 4. Blue 'n' Boogie
(11:30) 5. The Girl From Ipanema
( 5:14) 6. Pure Imagination
( 7:29) 7. The Summer Wind
(10:19) 8. The More I See You
(13:28) 9. Tin Tin Deo

Marking 40 years since his first appearance at PizzaExpress Live in London, the revered US saxophonist Scott Hamilton is to release a new live album, the first release on the newly formed PizzaExpress label PX Records.

Having appeared at the club in Dean Street, Soho, across six different decades, Hamilton is very much part of the fabric of PizzaExpress Live and this new live album, which features Scott's UK-based quartet of John Pearce (piano), Dave Green (bass) and Steve Brown (drums), captures a 7-track set featuring an array of classic standards including The Girl From Ipanema and Pure Imagination.
https://www.amazon.co.uk/PizzaExpress-Live-Scott-Hamilton-Quartet/dp/B0BXHKTQFV

Personnel: Scott Hamilton (saxophone), John Pearce (piano), Dave Green (bass) and n Steve Brow(drums)

At PizzaExpress Live - In London

Tuesday, April 11, 2023

Scott Hamilton & Martin Sasse Trio - Live In Cologne

Styles: Piano And Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 64:01
Size: 150,4 MB
Art: Front

(11:47) 1. A Beautiful Friendship
(10:43) 2. Talk to Me Baby Tell Me Lies
(14:37) 3. Poinciana
( 7:45) 4. Lady Luck
( 5:02) 5. Pure Imagination
( 7:26) 6. Summer Wind
( 6:39) 7. Sweet Georgia Brown

The American saxophonist Scott Hamilton is one of the last world stars of swing. He inherited the genre of role models and associates such as Coleman Hawkins, Lester Young and Gerry Mulligan. Martin Sasse is one of the most celebrated jazz pianists in Europe.

His trio is permanently engaged with Henning Gailing on bass and Joost van Schaik on drums. They frequently work with internationally renowned jazz musicians such as Peter Bernstein and Steve Grossman. With Hamilton they even played the most famous compositions so captivatingly that one was willing to believe being on a journey back through time into the great era of swing.
https://martinsasse.de/project/martin-sasse-trio-feat-scott-hamilton-en

Personnel: Martin Sasse — Piano; Scott Hamilton — Tenor Saxophone

Live In Cologne

Monday, March 27, 2023

Scott Hamilton & Harry Allen - Heavy Juice

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 63:09
Size: 144,8 MB
Art: Front

(6:05)  1. Heavy Juice
(6:57)  2. Did You Call Her Today?
(7:02)  3. Groovin' High
(6:48)  4. If I Should Lose You
(6:28)  5. Blues Up and Down
(8:32)  6. If Dreams Come True
(5:47)  7. Warm Valley
(9:08)  8. Ow!
(6:20)  9. Strike Up The Band

This CD has been a recording waiting to happen for twenty years. Back then, highschooler Harry Allen joined Scott Hamilton on stage at the Newport Jazz Festival for a cameo performance with the George Wein-led Newport All-Stars. Allen grew up in Rhode Island, which also claims Hamilton as a native son. And Hamilton certainly was a role model as Allen blossomed then and fast became a welcome young player on the New York swing jazz scene.  They've had occasional chances to collaborate on the bandstand. And now, Heavy Juice enables them to join a line of great tenor summit session pairings that through the years have included Ben Webster and Coleman Hawkins, Gene Ammons and Dexter Gordon, Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This is a splendid session in which two good musical friends mine common musical ground with very similar sounds. Both favor a breathy, growling Webster tone at times. These days, Allen comes more out of a Stan Getz melodic bag, which Hamilton explored in an earlier phase. 

At times, when they're playing in unison or locked into the same tone, it helps to know that Hamilton is on the left stereo channel, Allen on the right. The crack rhythm section provides a strong cushion, with John Bunch's dancing hands providing some elegant twists and turns at the piano. Nothing here disappoints, but their bop-meets-R&B take on "Blues Up and Down" by Ammons and Stitt ranks as my clear favorite. It's filled with an exuberant spirit of one-upmanship until they blend together for the final shout chorus. In contrast, the Duke Ellington ballad "Warm Valley" enables them to share a Websterish blend. From start to finish, through all eight tracks, this blend of Heavy Juice is very, very good.
By Ken Franckling https://www.allaboutjazz.com/heavy-juice-scott-hamilton-concord-music-group-review-by-ken-franckling.php

Personnel: Scott Hamilton (tenor saxophone), Harry Allen (tenor saxophone), John Bunch (piano), Dennis Irwin (bass), Chuck Riggs (drums)

Heavy Juice

Thursday, January 5, 2023

Andrea Motis & Joan Chamorro Quintet - Live At Jamboree Barcelona (Feat. Scott Hamilton)

Styles: Vocal,Trumpet And Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 75:20
Size: 175,3 MB
Art: Front

(4:24) 1. Exactly Like You
(6:45) 2. Meditaçao
(6:33) 3. I Fall In Love Too Easily
(4:33) 4. Sun Showers
(7:41) 5. Someday My Prince Will Come
(5:45) 6. Moody's Mood For Love
(6:19) 7. Chega De Saudhade
(7:42) 8. Summertime
(6:25) 9. Lullaby Of Birdland
(5:18) 10. Corcovado
(5:16) 11. All Too Soon
(5:27) 12. My Baby Just Cares For Me
(3:06) 13. This Year's Kisses (Bonus Track)

"A friend recommended Andrea to me, and she's definitely a "comer," someone worth a lot of encouragement. I'm frankly tired of guitar-strumming singer-songwriters who do all "original material" because the harmonies of standards (like "Body and Soul" or "All the Things You Are") are totally beyond their reach. Andrea is taking a far more sophisticated path, reminiscent of Chet Baker -in both her singing and trumpet work- than any other musician.

She was in her early teens when this album was made. Her voice lacks mature body and firm, sustaining breath support both her singing and trumpet- but is nonetheless most pleasant, with clear elocution and precise intonation. And her trumpet work sparkles with note choices that are melodic and "hip." You can only hope she has the right teachers and influences to nurture her undeniable talent. Also, one might hope that she doesn't overdo the guitars. I'm not hearing the support of a firm walking bass or of a drummer with a strong hi-hat clap and ringing ride cymbal. Pianos are on the verge of extinction the reason I go back to Bill Evans and Duke Ellington for the majority of my listening. The presence of Scott Hamilton makes this album a no-brainer.
By Samuel Chell https://www.freshsoundrecords.com/joan-chamorro-andrea-motis-albums/6061-live-at-jamboree-barcelona-cd-dvd-featuring-scott-hamilton.html

Personnel: Andrea Motis (vocal, trumpet & Alto sax), Scott Hamilton (tenor sax), Joan Chamorro (bass), Ignasi Terraza (piano & Hammond organ), Josep Traver (guitar), and Esteve Pi (drums).

Live At Jamboree Barcelona (Feat. Scott Hamilton)

Friday, December 30, 2022

Scott Hamilton - Ballad Essentials

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 58:35
Size: 152,9 MB
Art: Front

(4:57)  1. Skylark
(3:40)  2. Everything Happens to Me
(5:26)  3. My Foolish Heart
(3:47)  4. That's All
(4:59)  5. In a Sentimental Mood
(4:44)  6. I Should Care
(5:39)  7. Body and Soul
(5:57)  8. 'Round Midnight
(5:33)  9. My Romance
(4:01) 10. Stardust
(4:26) 11. I'll Be Around
(5:24) 12. Tonight I Shall Sleep (With a Smile on My Face)

The musical line leading up to tenor saxophonist Scott Hamilton is not confusing. He wears his influences on his sleeve. You hear Lester Young's phrasing, Ben Webster's languid tone, and more than a dash of Zoot Sims's overall presentation. And while 1989's Scott Hamilton Plays Ballads is a gorgeous showing off of these influences, Ballad Essentials is a magnificent overview of his smoldering command of the genre. There's a pair of tracks from Plays Ballads ("In a Sentimental Mood" played as limber, late-night swing and "Round Midnight" given a robust, big-hearted embrace) and a pair from With Strings. The other eight pieces come from all over Hamilton's catalog, and describing any particular tune would tax the vocabulary "aching" and "tender" have only so many synonyms. Hamilton's sense of swing is easy to love, as is his brawny tone even when it slips into whispering mode. Ballad Essentials is meant as a themed collection, and it not only succeeds as such, it also serves as a primer for Hamilton's whole output. Editorial Reviews ~ Andrew Bartlett  http://www.amazon.com/Ballad-Essentials-Scott-Hamilton/dp/B00004NRVM

Personnel: Scott Hamilton (tenor saxophone); Chris Flory, Howard Alden, Cal Collins (guitar); Ken Peplowski, Spike Robinson (tenor saxophone); Dave McKenna, Gerry Wiggins, John Bunch, Alan Broadbent, Nat Pierce, Norman Simmons, Brian Lemon (piano); Connie Kay, Jake Hanna, Jeff Hamilton , Allan Ganley, Roy McCurdy, Chuck Riggs (drums).

Ballad Essentials

Sunday, December 25, 2022

Scott Hamilton Quartet - Dean Street Nights

Styles: Saxophone Jazz
Year: 2014
Time: 62:41
File: MP3 @ 320K/s
Size: 143,9 MB
Art: Front

( 7:41) 1. I Just Found Out About Love
( 8:52) 2. Sweet And Lovely
(13:12) 3. Jitterbug Waltz
( 5:20) 4. If I Had You
( 9:40) 5. Zoot's Blues
( 6:23) 6. Spring Can Really Hang You Up The Most
(11:29) 7. Cherokee

Tenor sax player Scott Hamilton performed his first gigs in the UK in 1978, following a much-heralded breakthrough in the States alongside Roy Eldridge and Benny Goodman. He was described as the saviour of mainstream jazz, a young fogey and a Ben Webster sound-alike. It soon became apparent that, while each of these statements had an element of truth, Hamilton was intent on forging his own way through the international jazz scene with an individual voice grounded in quality, consistency and swing.

Hamilton’s latest release, recorded at the Pizza Express Jazz Club, celebrates the 35th anniversary of his début appearance at the venue. The quartet has been touring in the UK and elsewhere since the turn of the millennium. Some of the relationships go back much further: John Pearce (whom I first saw with Hamilton beside Dick Morrissey in 1989) is a hugely experienced and enterprising pianist; bass legend Dave Green has worked with Hamilton on and off for at least 20 years, and the talented, brio-fuelled Steve Brown replaced the much-loved drummer Allan Ganley in 2000.

The opener, I Just Found out about Love, is relatively benign and gives little indication of what comes later. Sweet and Lovely arranged as a slowish samba includes a magnificent piano solo followed by a quietly arresting creation by the leader. You think you know what you’re going to get from Hamilton, but his work is full of surprises and rarely derivative. He prefers to improvise on the music at hand rather than throw in quotations at random and it’s easy to overlook the power that he generates.

Zoot’s Blues is a bright, jaunty tribute to one of Hamilton’s early influences, John Haley “Zoot” Sims. Its swagger is ideal for him and Pearce, whose skilful runs and beautiful chording maintain the momentum. Most revered for his ballad interpretations, Hamilton displays a fluffy and expressive vibrato on If I Had You and Spring Can Really Hang You Up The Most. They both contain well-executed work and beautiful flourishes, although they are arguably the least impressive selections in a varied and classy concert. Follow the link to read full review:
https://londonjazznews.com/2014/02/22/cd-review-scott-hamilton-quartet-dean-street-nights/

Personnel: Scott Hamilton - tenor sax; John Pearce - piano; Dave Green - bass; Steve Brown - drums

Dean Street Nights

Sunday, December 18, 2022

Scott Hamilton - Talk to Me, Baby

Styles: Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 50:00
Size: 115,0 MB
Art: Front

(6:34) 1. Talk To Me, Baby
(5:32) 2. All My Tomorrows
(6:37) 3. Along Came Betty
(6:27) 4. Spring Can Really Hang You Up the Most
(7:01) 5. Someone to Light Up My Life
(5:14) 6. The Underdog
(9:04) 7. I Remember you
(3:27) 8. Alfie

Back in 1977 when Scott Hamilton first burst upon the jazz scene, small group swing was in danger of becoming extinct. Swing was associated with World War II. big band nostalgia and most young jazz-oriented musicians were more interested in playing fusion, avant-garde explorations, or soul jazz. Hamilton’s appearance on the scene as a tenor-saxophonist in his early twenties with a large personal tone, a swinging melodic style, a love for vintage standards, and impeccable musicianship inspired generations of up-and-coming players to explore the songs and styles of the 1930s, ‘40s, and ‘50s. Even after 45 years, Scott Hamilton has never strayed far from his original goal of playing good tunes with compatible rhythm sections. His tone and ideas are as fresh as ever and his playing remains very much in its prime.

Hamilton had previously recorded no less than five albums with the rhythm section of pianist Dena DeRose, bassist Ignasi González, and drummer Jo Krause for the Blau label: La Rosita, The Shadow Of Your Smile (both from Dec. 7, 2015), Moon Mist (Oct. 12, 2017), Street Of Dreams (Mar. 23, 2019), and Two For The Road (July 5, 2021). Dena DeRose, who is also an excellent singer, displays her own fresh chord voicings on the piano and is masterful at creating her musical message during concise solos. Ignasi Gonzalez has been a regular on the Blau label since 2010 (recording with saxophonists Toni Sola and Dmitry Baevsky, trumpeter Valery Ponomarev and pianist-singer Champian Fulton) while Jo Krause also recorded for Blau with Benny Golson. One can understand why Hamilton enjoys playing with this trio for the musicians are supportive, swinging, and tastefully inventive.

During the relaxed set, Hamilton explores and uplifts eight superior standards. In-depth analysis is certainly not needed to enjoy these performances. Just to mention a few highlights, two obscurities (Johnny Mercer’s “Talk To Me Baby” which Frank Sinatra recorded, and Al Cohn’s “The Underdog”) get welcome revivals, there are definitive versions of the quietly emotional ballads “Spring Can Really Hang You Up The Most” and “All My Tomorrows,” “Someone To Light My Life” is joyous, and “I Remember You” receives a lengthy and relatively heated exploration. Suffice it to say, throughout Talk To Me Baby, Scott Hamilton plays as beautifully as ever.(Scott Yanow, jazz critic/historian, and author of 12 books including Life Through The Eyes Of A Jazz Journalist) https://www.jazzmessengers.com/en/94323/scott-hamilton/talk-to-me-baby

Personnel: Scott Hamilton - (sax); Dena DeRose - (piano); Ignasi Gonzalez (bass); Jo Krause - (drums)

Talk to Me, Baby

Saturday, November 12, 2022

Rosemary Clooney With the L.A. Jazz Choir - Sings Rodgers, Hart & Hammerstein

Styles: Vocal
Year: 1990
File: MP3@320K/s
Time: 51:24
Size: 118,4 MB
Art: Front

(2:15) 1. Oh, What A Beautiful Morning
(4:55) 2. People Will Say We're In Love
(3:47) 3. Love, Look Away
(6:07) 4. The Gentleman Is A Dope
(2:54) 5. It Might As Well Be Spring
(6:22) 6. The Sweetest Sounds
(3:10) 7. I Could Write A Book
(3:59) 8. You Took Advantage Of Me
(5:58) 9. The Lady Is A Tramp
(4:34) 10. Little Girl Blue
(4:01) 11. My Romance
(3:15) 12. Yours Sincerely

This Rosemary Clooney recording differs from all of her previous Concord albums in that she is joined by the L.A. Jazz Choir (a 12-voice group) on half of the dozen selections. The choral backing is a bit of an acquired taste for jazz listeners but Clooney's backup sextet does consist of tenor saxophonist Scott Hamilton, trumpeter Jack Sheldon (who helps out Clooney with his vocal on "People Will Say We're in Love"), trombonist Chauncey Welsch, pianist John Oddo (who is responsible for both the choral and instrumental arrangements), bassist John Clayton and drummer Joe LaBarbera.

Clooney interprets the music of Richard Rodgers and lyrics which are split almost evenly between Lorenz Hart and Oscar Hammerstein. Most of the tunes are fairly well-known (including "It Might as Well Be Spring," "I Could Write a Book," "You Took Advantage of Me" and "My Romance") but Rosemary Clooney makes them sound fresh and alive.By Scott Yanow https://www.allmusic.com/album/sings-rodgers-hart-hammerstein-mw0000207686

Personnel: Rosemary Clooney – vocals; Jack Sheldon – trumpet, vocal (track 2); Chauncey Welsch – trombone; Warren Vaché Jr. – cornet; Scott Hamilton – tenor saxophone; John Oddo – piano, vocal and instrumental arrangements; John Clayton – bass; Joe LaBarbera – drums; The L.A. Jazz Choir – vocals (tracks 1,3,7,10-12)

Sings Rodgers, Hart & Hammerstein