Customer Reviews

Back in New York

5 star:		(3)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

. . . it would also be wrong.

Scott Hamilton, recently described, not unfairly, one supposes, in a recent prominent jazz publication, as a "journeyman saxophonist," here delivers the record of his life. And if he is just slightly overshadowed by the finest straight-ahead jazz rhythm section on the scene--Bill Charlap (piano), Peter Washington (bass), and Kenny Washington (drums)--that is nothing to be embarrassed about; almost anyone alive would be.

Indeed, it is the impossibly deep swinging vibe laid down by these three that vaults this session out of the doldrums of competency into the precincts of gloriousness. How long have Charlap and the Washingtons been together now--five years? Ten? I don't know, but somewhere along the way they've achieved an interactive conversational capability that would be scary if it weren't so wonderful. That they've managed to lure the entirely willing Hamilton into their magical web is not so much a surprise as the level his playing consequently achieves.

I have to confess that this kind of session--a rather straightforward reading of hoary jazz chestnuts--isn't ordinarily my thing; I've enough romantic Houston Person and Fathead Newman sides to paper a small office cubicle, and I find myself seldom listening to them. Not because there isn't a certain level of creativity, even sometimes genius, but because no matter how well such dates come off they leave me wishing for something more adventurous. This set, however, achieves something rare in jazz recordings, a kind of serendipity that blesses certain sessions with what can only be described as jazz fairy dust. Everything just works here: the program, achieving a kind of thrust that although somewhat unlikely eventually arrives at inevitability; perfectly balanced production, where each instrument's voice achieves pure clarity while perfectly blending with its counterparts; top-drawer playing by all; and some kind of je ne sais quois, a visit by the ever-fickle jazz gods deigning to grace this disc with their often-sought-but-seldom-delivered favor.

Very much worth acquiring.

Scott Hamilton is by far one of the greatest tenor saxophonist working today. His tone is what attracted me to his music and what a gorgeous tone it is! He also is a master player who always sounds fresh and has great improvisational ideas. He is truly a remarkable musician.

"Back In New York" is a fine album. Here, Hamilton is joined by the Bill Charlap Trio: Bill Charlap on piano, Peter Washington on bass, and Kenny Washington on drums. Hamilton has found some musical soulmates in these musicians. I think this is one of Hamilton's best albums of his long career, but then again saying something like this doesn't mean much, because he has remained consistent throughout his career. Instead of going off on some crazy tangent like "free jazz," he has carried the spirit of swing and sophistication with him.

It's hard describing music, so I'm going to let the sound clips do the talking for me, and I can only hope that more and more people pick-up his albums. This album is a good start, but trust me when I say, you'll soon realize that there's not really a good place to start, because all his albums are just too good.

Of the six Hamilton albums I now have, this one has been the slowest to grow on me. I enjoy it more with each play, especially "Blue 'n' Boogie," "Bouncing with Bud," and "Fine and Dandy." For some reason, even though I equally enjoy Hamilton's ballads and up-tempo numbers, on this album, it's the up-tempo numbers I like the best. What seems to take me some time warming to this album is my preference of John Bunch, Tommy Flanagan, and Alan Broadbent on the piano to this album's pianist Bill Charlap. He has a knowing touch but is more cool than the others. He very seldom plays the melody line, which I like to hear a little bit of just once. He is more cerebral, and that just doesn't bring goose-bumps (unless you're Mensa, which I'm very decidedly not). I do like the way Hamilton and Charlap mesh on some numbers, and perhaps if I concentrate on those numbers, I'll warm up a little bit! I still love the sound of Hamilton's sax--that never changes.

This is real jazz with no tricks, no inventions, and this is how real jazz should sound... Scott Hamilton is simple, traditional, sincere and still never obsolete! And still is one of the best saxophone players in the world. And it is a real pleasure to listen to him - like to any great master. That is what we call "classic" - classic not only in the manner of playing, but in the superior level of
performance. AF.