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/
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
