I am hardly the first to point out the importance of tone in music. And while those other “T” qualities—taste and technique—certainly stand alongside to form a kind of Mount Rushmore-sized trifecta of musical importance, tone, arguably, reigns supreme. After all, while a good sound will go a long way to mitigate poor taste, there is no amount of technique in the world capable of blunting out a questionable tone. And speaking of other truisms in jazz, I’m also hardly the first to point out just how wonderful a tone (as well as those two other above-mentioned “T” qualities), the American-saxophonist Scott Hamilton, heard here in fine form with a group of equally “tone-forward” Canadian musical compatriots, has showcased without exception throughout his entire career. In fact, it was his remarkable tone (a good wind capable of blowing no ill, thus described by the late great Leonard Feather on the record jacket of Hamilton’s first ever release in 1977), that attracted so many to Hamilton’s anachronistically wonderful style and musical presence all those many years ago. And while there was something special indeed about those early recordings with his group of equally heterodox American musicians, the casting on this new Cellar release rivals any of the great tenor man’s earlier recordings in terms of swing, sophistication, and aplomb.

From the opening bars of “Luna,” bassist Jodi Proznick’s beautiful original waltz that begins the recording, listeners know they are in for a treat. The blue-chip rhythm section of Proznick, Coon, and Black have evident experience playing together that dates to their formation in 2008, and Triology provides what undoubtedly is a comfortable musical foundation for the elder statesman saxophonist to extemporize upon. Part of what makes it enjoyable no doubt is the deep swing and cohesive groove that the trio cultivates, reminiscent by design of the renowned drummer-less trios of Nat King Cole, Ahmad Jamal, and Oscar Peterson. Further, for listeners, the trio coalesces nicely to create a sonically familiar classic jazz sound that stands easily alongside any selections from the discography of those above-mentioned canonic groups. These qualities and more are heard throughout, of course, but in isolation as a stand-alone trio, they bring much to Bird’s 1946 rhythm change knuckle buster “Moose the Mooche.”

Part of what makes this instrumental aggregation so satisfying is that with the absence of drums and the inclusion of the guitar, there is a net positive addition to the arrangement possibilities. Simply put, a second linear melodic voice can be well utilized for counter lines and harmonic contributions. And that is most certainly the case on The Slow Road. Listen, for example, to Will Osborne and Dick Roger’s hit “Pompton Turnpike,” a rarely heard tune today in the “twenty-twenties” to be sure, but a going concern when made famous by Charlie Barnet’s Swing Era orchestra back in the 1940s. While the track has all the qualities one desires from a solid jazz performance: a deep pocket, consistently melodic and thoughtful solos, and that delightfully effervescent bounce and buoyancy that is the hallmark of swinging jazz, it is also alive with possibility thanks for the trio’s creative re-imagining of the tune with all the principals contributing counter lines and reciprocal phrases that tease out new possibilities from this this well-worn musical chestnut. Be it a musical warhorse like “I Thought About You,” a true jazz composition from the pen of Randy Weston, or any of the fine original contributions from the trio itself, the immediately identifiable sound of Hamilton’s horn above the group’s great playing and thoughtful arrangements makes quite the elixir indeed.

Finally, there is something both timeless and deeply connected to jazz history evident when a guest soloist like Hamilton joins a well-oiled pre-existing trio for impressive results…iron sharpens iron and all that. And whether it is Stan Getz and the Oscar Peterson Trio, Harry Allen Meets the Pizzarelli Trio, John Coltrane with the Red Garland Trio, or Four! Joe Henderson with the Wynton Kelly Trio, many a seminal performance has been created in this way, and, harnessing the spirit of inventiveness that Duke Ellington once called the feeling of jazz, many a celebrated recording waxed. And now, with The Slow Road, we have another.

Andrew Scott
Toronto, ON
January 2025