A tenor saxophonist standing foursquare and unreconstructed in the tradition established by Coleman Hawkins, Ben Webster and Illinois Jacquet, Scott Hamilton is considered so uncool in some quarters that to admit you enjoy him is to risk being shunned by hip society.
Now in his mid-fifties and playing a brand of jazz that was at its peak before he was born, Hamilton hasn't deviated from his style since his debut album, Scott Hamilton Is A Good Wind Who Is Blowing Us No Ill (Concord, 1977), recorded when he was just 23. Since then he's made another sixty-plus discs as leader or co-leader—an output, interestingly, which in jazz is matched only by saxophonists directly opposite him on the stylometer, like Anthony Braxton or Evan Parker.
In the process, Hamilton's honeyed sound and easy swing have given all but the most po-faced pleasure. He plays the style he plays guilelessly and with conviction, as though born to it. His music has degrees of creativity absent from the pasticheurs. Retro he might be, revivalist he certainly isn't.
Across The Tracks, produced by Bob Porter and recorded by Rudy Van Gelder at his Englewood, New Jersey studio (hence the title), is an infectious set of mainly up-tempo ballads and blues, on which Hamilton fronts a quartet completed by guitarist Duke Robillard, organist Gene Ludwig and drummer Chuck Riggs. Baritone saxophonist Doug James is added on two tracks, "Parker's Pals" and "Intermission Riff."
The guitar/organ/drums line-up suggests chicken shack soul-jazz, circa 1960—and on one track, an ebullient reading of "Something For The Road," Hamilton adopts an appropriately vocalized and raw tone. But elsewhere he favors the warm, caressing sound, given a languorous vibrato at slower tempos, for which he's best known.
Hamilton is brilliantly served by his band. Robillard's elliptical solos are magic, giving fresh nuances to familiar structures, and even when comping he's worth listening to. James shines on his two guest appearances, particularly the boppish "Parker's Pals," written by fellow baritone player Leo Parker and first heard on Parker's Let Me Tell You 'Bout It (Blue Note, 1962), now available in a fine Van Gelder remastered edition. Ludwig and Riggs, who has played with Hamilton on and off for over thirty years, cook from start to finish.
Forget the style police and give yourself a treat. Scott Hamilton may not stretch the envelope, but he surely seals it with a kiss.
https://www.allaboutjazz.com/across-the-tracks-scott-hamilton-review-by-chris-may.php
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Saxofonista tenor de pie y sin reconstruir en la tradición establecida por Coleman Hawkins, Ben Webster e Illinois Jacquet, Scott Hamilton es considerado tan poco genial en algunos círculos que admitir que lo disfrutas es arriesgarse a ser rechazado por la sociedad de moda.
A mediados de los cincuenta y pico y tocando un tipo de jazz que estaba en su apogeo antes de que naciera, Hamilton no se ha desviado de su estilo desde su álbum debut, Scott Hamilton Is A Good Wind Who Is Blowing Us No Ill (Concord, 1977), grabado cuando tenía sólo 23 años. Desde entonces ha hecho más de sesenta discos como líder o co-líder, una salida, curiosamente, que en el jazz sólo es igualada por los saxofonistas que están directamente enfrente de él en el estilómetro, como Anthony Braxton o Evan Parker.
En el proceso, el sonido meloso y el swing fácil de Hamilton han dado todo, excepto el placer más pomposo. Toca el estilo que toca sin culpa y con convicción, como si hubiera nacido para ello. Su música tiene grados de creatividad ausentes en los pasticheurs. Puede que sea retro, pero no es un reanimador.
Across The Tracks, producido por Bob Porter y grabado por Rudy Van Gelder en su estudio de Englewood, Nueva Jersey (de ahí el título), es un contagioso conjunto de baladas y blues principalmente up-tempo, en el que Hamilton encabeza un cuarteto completado por el guitarrista Duke Robillard, el organista Gene Ludwig y el baterista Chuck Riggs. El saxofonista barítono Doug James se añade en dos pistas, "Parker's Pals" y "Intermission Riff".
La alineación de guitarra/órgano/batería sugiere soul de chicken shack -jazz, alrededor de 1960- y en una pista, una lectura exuberante de "Something For The Road", Hamilton adopta un tono vocalizado y crudo apropiado. Pero en otros lugares prefiere el sonido cálido y acariciante, con un lánguido vibrato a ritmos más lentos, por el que es más conocido.
Hamilton es brillantemente servido por su banda. Los solos elípticos de Robillard son mágicos, dando matices frescos a las estructuras familiares, e incluso cuando compiten vale la pena escucharlo. James brilla en sus dos apariciones como invitado, particularmente en el boppish "Parker's Pals", escrito por su compañero barítono Leo Parker y escuchado por primera vez en "Parker's Let Me Tell You 'Bout It" (Blue Note, 1962), ahora disponible en una fina edición remasterizada de Van Gelder. Ludwig y Riggs, que ha jugado con Hamilton de vez en cuando durante más de treinta años, cocinan de principio a fin.
Olvida el estilo policial y date un gusto. Scott Hamilton puede que no estire el sobre, pero seguramente lo sella con un beso.
https://www.allaboutjazz.com/across-the-tracks-scott-hamilton-review-by-chris-may.php
www.scotthamiltonsax.com ...
Track Listing:
Deuce's Wild; Parker's Pals; Save Your Love For Me; Cop Out; Intermission Riff; Sweet Number; Something For The Road; Blue Turning Grey Over You; Memories Of You.
Credits:
Credits:
Scott Hamilton: tenor saxophone;
Duke Robillard: electric guitar;
Gene Ludwig: organ;
Chuck Riggs: drums;
Doug James: baritone saxophone (2, 5).
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