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| Trilogy with Scott Hamilton-The Slow Road-Cellar Records |
Hamilton was born in Providence, Rhode Island in 1954 so he is part of my generation. Where many of us drawn of that age were drawn to rock, fusion, hard bop, modal, free and avant-garde, Hamilton was enamored by swing. He came to New York in 1976 and was recommended to join Benny Goodman's Septet shortly thereafter by the great trumpet icon Roy Eldridge, who he had played previously with in Boston. Hamilton made his mark with Goodman and played in the US and Europe with the clarinetist on and off through 1982. Hamilton started his own his quartet in 1977 and made his debut album Scott Hamilton Is a Good Wind Who Is Blowing Us No Ill on Concord Jazz the same year. I recall hearing this saxophonist on WBGO or WRVR jazz radio back in the late seventies, and I was impressed by his sound and fluidity.
I got to see him in that time period at the now defunct jazz club at, Fat Tuesdays (190 Third Ave at 17th Street in NYC), a downstairs club that was famous for bringing in serious jazz artists to perform in that intimate venue. Needless to say I was smitten. The ease with which he was able to enrapture his audience with his sound and fluency made it clear to me that this was one special artist.
Apparently, Hamilton has had the same effect on other artists that he has collaborated with. He accompanied vocalist Rosemary Clooney for ten years. His mellifluous saxophone can also be heard on work that he did with Tony Bennett, Anita O' Day, Dave McKenna, Ruby Braff, Hank Jones, Warren Vache and Bucky Pizzareli to name just a few. I have enjoyed his saxophone deliciously playing ethnically folk-inspired music to great effect, like the album that he did with Danish artists titled Swedish Ballads...& More from 2013.
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| Scott Hamilton (photo credit unknown) |
The most recent album, from Corey Weeds label Cellar Music Group, matches Hamilton with a Canadian jazz trio from Vancouver British Columbia called Trilogy. The album was recorded in B.C. on June 30, 2024 and released this past April titled Slow Road and Hamilton and this sympathetic trio make some beautiful music.
Trilogy, a drum-less trio, is comprised of pianist Miles Black, guitarist Bill Coon and upright bassist Jodi Proznick. With Trilogy's format, it is easy to see that not having a drummer driving the trio relies on Proznick's steadfast bass lines to propel the music and this talented bassist certainly does so with aplomb.
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| Miles Black, Jodi Proznick and Bill Coon of Trilogy (photo credit unknown) |
The album is well recorded and includes nine compositions that show the diversity of the music this trio approaches. Having Hamilton's beautifully sensuous sound just adds to the groups appeal.
The opener is Proznick's "Luna," a strolling waltz that features the melodic piano of Black, the floating guitar work of Coon and Proznick's plucky bass. When Hamilton enters the music with his spare, warm, inviting sound and covers you like a warm blanket on a chilled autumn evening. These musicians are well-suited to playing with creation, easy swing and style as they dance in unison and in solo on this one.
The album continues with "Pompton Turnpike," a rag tag, bouncy song made famous by the Charlie Barnet's Orchestra back in the nineteen forties. The group[ opens with some stride-inspired piano work by Black , some warm and tactile guitar accompaniment by Coon, and buoyant bass work by Proznick, before Hamilton enters with his own swinging statement. If there is music that is supposed to billow up your spirits it's certainly music like this.
Antonio Carlos Jobim's tender "Luiza" is the perfect vehicle to allow Hamilton to simply sweep you away with his emotionally evoking saxophone. Black opens this one with an impressionable piano intro before Hamilton's tonally expressive tenor plays the evocative melody that plucks against the strings of your heart. Coon's guitar swells with glowing expression before Hamilton returns with one more pass at the theme that just adds a moving exclamation to the coda.
The title cut of the album "Slow Road" is a composition by the guitarist Bill Coon, who wrote the song during a residency in Italy. Coon opens the bouncy tune with repeating single note lines that is played in sync with Hamilton's subdued tenor. The saxophonist opens it up into a slow swinger with his sweet, flowing sound. Coon, Black, and Proznick all counter with their own solo verses before the tune returns to the four musicians playing the melody in unison.
Charlie Parker's "Moose the Mooche" is a fast tempo bebop classic that purportedly refers to Parker's one time drug dealer. Hamilton sits this one out, so this is a chance for the trio to show some of their chops. The three musicians play the quick lines in skillful synchronicity before they each take turns exploring the music's harmonic possibilities. While not played at blazing speed, the group carries the spirit with vigor and style.
Pianist Randy Weston is the composer of the next two offerings "Hi-Fly" and "I Thought About You." The cadenced rhythm of "Hi-Fly" offers some nice interplay opportunities for the four compatriots. Black's piano work is rich and cheerful. Hamilton's saxophone has such an organic feel and his timing is exquisite. There is a classic sound to Coon's lovely guitar work on this one as he navigates the changes with astute taste and feel.
On "I Thought About You" opens with Proznick's resonant bass stating the melody as Coon deftly accompanies. Hamilton's restrained approach leaves lots of space and allows his horn to breathe between his expressive ideas. Black and Coon have a conversational section where they skillfully trade musical ideas.
A blast from the past that is rarely heard is Ralph Rainger and Leo Rabin's "Thanks for the Memories," The song made popular by becoming comedian Bob Hope's theme song. This slow walk down memory lane is played slowly, but Hamilton still finds some ideas to emphasize through this nostalgic ditty.
A medium tempo blues written by the pianist Miles Black titled "Blues for Fraz" is dedicated by fellow Canadian jazz saxophonist Fraser MacPherson. A tight little gritless blues swings, but to me falls short for its lack of the authenticity and soul that is required to be part of the true blues DNA.
Slow Road has moments of sublimeness and its great to hear this talented trio make such beautiful music with Hamilton. Now in his early seventies, the tenor saxophonist still has that burnished, appealing tone and swing that always makes seeing him play live or hearing him on record worth the price of admission.