Biography:
Scott
Hamilton was born in 1954, in Providence, Rhode Island. During his
early childhood he heard a lot of jazz through his father’s extensive
record collection, and became acquainted with the jazz greats. He tried
out several instruments, including drums at about the age of five, piano
at six and mouth-organ. He had some clarinet lessons when he was about
eight years of age, but that was the only formal music tuition he has
ever had. Even at that age he was attracted to the sound of Johnny
Hodges, but it was not until he was about sixteen that he started
playing the saxophone seriously. From his playing mainly blues on mouth
organ, his little band gradually became more of a jazz band.
He
moved to New York in 1976 at the age of twenty-two, and through Roy
Eldridge, with whom he had played a year previously in Boston, got a
six-week gig at Michael’s Pub. Roy also paved the way for him to work
with Anita O’Day and Hank Jones. Although it was the tail-end of the of
old New York scene, a lot of the greats were still playing and he got to
work and learn from people like Eldridge, Illinois Jacquet, Vic
Dickenson and Jo Jones. Eldridge was Scott’s champion, but pulled no
punches, and could be extremely critical, something for which Scott has
always been grateful. In December of the same year John Bunch got Scott
his first recording date, for Famous Door, and was also responsible for
him joining Benny Goodman. He continued to work with Goodman at
different times until the early 1980s.
In 1977 he formed his own
quartet, which later became a quintet, with Bunch added to the group.
The same year Carl Jefferson heard him, and began recording him for his
Concord record label. More than forty albums later he is still recording
for them, having made many under his own leadership, several with his
regular British quartet of John Pearce, Dave Green and Steve Brown,
including his latest, Nocturnes & Serenades. The Quartet plus two
guests, Dave Cliff and Mark Nightingale recorded Our Delight! for Alan
Barnes’ Woodville label. A new release, Across the Tracks on Concorde is
due this May. Along the way he has made albums with Dave McKenna, Jake
Hanna, Woody Herman, Tony Bennett, Gerry Mulligan, Flip Phillips, Maxine
Sullivan, Buddy Tate, Warren Vache, many with Rosemary Clooney and a
number with another of his mentors, Ruby Braff, with whom he played
residencies at the Pizza Express Jazz Club, London in the mid-1980s.
Over the years Scott has also performed and recorded with such touring
bands as the Concord Jazz All Stars, the Concord Super Band and George
Wein’s Newport Jazz Festival All Stars.
For some years he was based
in London, where he first played in 1978, but now travels the world from
Italy. Each year, in addition to two or three residencies with the
quartet at the Pizza Express Jazz Club, British jazz club dates and
festival work including Brecon, where he is one of the patrons, he
regularly tours Germany, the Netherlands, Scandinavia, Japan, Spain and
Italy. He returns to America three or four times a year to play at
festivals, including in 2007, the New York JVC festival in June and
Irvine, California in September, and in February 2008 for three nights
at the Lincoln Centre New York.
His playing has best been described
by fellow tenor saxophonist and writer, Dave Gelly: “Following a Scott
Hamilton solo is like listening to a great conversationalist in full
flow. First comes the voice, the inimitable, assured sound of his tenor
saxophone, then the informal style and finally the amazing fluency and
eloquent command of the jazz language.” Scott was awarded the ‘Ronnie’
for International Jazz Saxophonist of the Year in the 2007 inaugural
Ronnie Scott’s Jazz Awards. It is no wonder that Scott Hamilton is in
demand the world over.
(Brian Peerless)
http://www.scotthamiltonsax.com/
///////
Review by Jim Santella (All About Jazz):
The tribute to Zoot Sims by Scott Hamilton and Bucky Pizzarelli is, as one would expect, wrinkle-free, easy on the ears, and nostalgic. The duo has chosen tunes associated, in one way or another, with the tenor saxophonist who delighted audiences for some 40 years; Sims passed away in 1985 at age 59. Allowing each voice to be heard unobstructed while still providing ample interaction, the duo format works well; Pizzarelli worked and recorded briefly as a duo with Zoot Sims. His 7-string electric model allows the guitarist to supply a bass line, rhythm/harmony and melody. Scott Hamilton's reputation precedes him; the full, relaxed tenor sound is quite pleasant. Zoot Sims and Al Cohn wrote "Morning Fun," which aptly describes the session. The saxophonist and guitarist fill the air with a style of music that remains pleasurable to fans of all jazz sub-genres, while performing songs familiar to most. "Just You, Just Me" includes a guitar solo in which Pizzarelli allows the enthusiasm to take him through string slaps and strums that exert additional rhythmic force. Elsewhere, the duo harmonizes and takes turns improvising on the familiar melodies without ever losing sight of the swing in jazz. Highly recommended.
https://www.allaboutjazz.com/the-red-door-scott-hamilton-concord-music-group-review-by-jim-santella
///////
Reseña de Jim Santella (All About Jazz) - Traducción:
El tributo a Zoot Sims de Scott Hamilton y Bucky Pizzarelli es, como era de esperar, impecable, agradable al oído y nostálgico. El dúo ha elegido temas asociados, de una forma u otra, con el saxofonista tenor que deleitó al público durante unos 40 años; Sims falleció en 1985 a los 59 años. Permitiendo que cada voz sea escuchada sin obstrucciones mientras aún proporciona amplia interacción, el formato de dúo funciona bien; Pizzarelli trabajó y grabó brevemente como dúo con Zoot Sims. Su modelo eléctrico de 7 cuerdas permite al guitarrista suministrar una línea de bajo, ritmo/armonía y melodía. La reputación de Scott Hamilton lo precede; el sonido de tenor lleno y relajado es bastante placentero. Zoot Sims y Al Cohn escribieron "Morning Fun", que describe con precisión la sesión. El saxofonista y el guitarrista llenan el aire con un estilo de música que sigue siendo placentero para los fanáticos de todos los subgéneros del jazz, mientras interpretan canciones familiares para la mayoría. "Just You, Just Me" incluye un solo de guitarra en el que Pizzarelli permite que el entusiasmo lo lleve a través de golpes y rasgueos de cuerdas que ejercen fuerza rítmica adicional. En otras partes, el dúo armoniza y se turna improvisando sobre las melodías familiares sin perder nunca de vista el swing en el jazz. Muy recomendado.
https://www.allaboutjazz.com/the-red-door-scott-hamilton-concord-music-group-review-by-jim-santella
Duke Robillard's history of jazz cuts off around the time Charlie Christian died. He has the vocabulary, tone, and unrelenting swing of guys like Christian, T-Bone Walker, and Tiny Grimes. This attractively- priced and generously full set is mostly culled from two individual CDs that found Robillard (a founder member of Roomful of Blues) in the company of like-minded guys, such as tenor- sax man Scott Hamilton and pianist Al Copley. They mix originals like "Twist Top" and "Jim Jam" with standards like "Sweet Georgia Brown" and "I'll Never Be the Same." Sure, it's revivalism, but it's a style well worth reviving. ~ Colin Escott, Amazon.com
This disc is the companion to Duke Robillard Plays Blues, another anthology of tracks recorded for Rounder's Bullseye Blues subsidiary. Of the two discs, this one is definitely the most fun. That's mainly because when Duke Robillard says "jazz" he means it more in the Louis Jordan sense than the Duke Jordan sense. The uptempo numbers are that sort of jump blues, proto-R&B-type thing that Joe Jackson went for on his Jumpin' Jive album -- you keep expecting to hear Cab Calloway chime in on the choruses.
"Shivers," "Sweet Georgia Brown" and "Shufflin' with Some Barbeque" are the best examples of Duke's affectionate retroactivity; he throws off elegant and speedy guitar runs with giddy abandon, and his band positively cooks. The cool urbanity of a song like "I'll Never Be the Same" calls for a bit more voice than Duke has to offer, but to his credit, he doesn't try to gussy it up; but that makes him honest, not fun to listen to.
~ Rick Anderson, All Music Guide
Biography:
Scott
Hamilton was born in 1954, in Providence, Rhode Island. During his
early childhood he heard a lot of jazz through his father’s extensive
record collection, and became acquainted with the jazz greats. He tried
out several instruments, including drums at about the age of five, piano
at six and mouth-organ. He had some clarinet lessons when he was about
eight years of age, but that was the only formal music tuition he has
ever had. Even at that age he was attracted to the sound of Johnny
Hodges, but it was not until he was about sixteen that he started
playing the saxophone seriously. From his playing mainly blues on mouth
organ, his little band gradually became more of a jazz band.
He
moved to New York in 1976 at the age of twenty-two, and through Roy
Eldridge, with whom he had played a year previously in Boston, got a
six-week gig at Michael’s Pub. Roy also paved the way for him to work
with Anita O’Day and Hank Jones. Although it was the tail-end of the of
old New York scene, a lot of the greats were still playing and he got to
work and learn from people like Eldridge, Illinois Jacquet, Vic
Dickenson and Jo Jones. Eldridge was Scott’s champion, but pulled no
punches, and could be extremely critical, something for which Scott has
always been grateful. In December of the same year John Bunch got Scott
his first recording date, for Famous Door, and was also responsible for
him joining Benny Goodman. He continued to work with Goodman at
different times until the early 1980s.
In 1977 he formed his own
quartet, which later became a quintet, with Bunch added to the group.
The same year Carl Jefferson heard him, and began recording him for his
Concord record label. More than forty albums later he is still recording
for them, having made many under his own leadership, several with his
regular British quartet of John Pearce, Dave Green and Steve Brown,
including his latest, Nocturnes & Serenades. The Quartet plus two
guests, Dave Cliff and Mark Nightingale recorded Our Delight! for Alan
Barnes’ Woodville label. A new release, Across the Tracks on Concorde is
due this May. Along the way he has made albums with Dave McKenna, Jake
Hanna, Woody Herman, Tony Bennett, Gerry Mulligan, Flip Phillips, Maxine
Sullivan, Buddy Tate, Warren Vache, many with Rosemary Clooney and a
number with another of his mentors, Ruby Braff, with whom he played
residencies at the Pizza Express Jazz Club, London in the mid-1980s.
Over the years Scott has also performed and recorded with such touring
bands as the Concord Jazz All Stars, the Concord Super Band and George
Wein’s Newport Jazz Festival All Stars.
For some years he was based
in London, where he first played in 1978, but now travels the world from
Italy. Each year, in addition to two or three residencies with the
quartet at the Pizza Express Jazz Club, British jazz club dates and
festival work including Brecon, where he is one of the patrons, he
regularly tours Germany, the Netherlands, Scandinavia, Japan, Spain and
Italy. He returns to America three or four times a year to play at
festivals, including in 2007, the New York JVC festival in June and
Irvine, California in September, and in February 2008 for three nights
at the Lincoln Centre New York.
His playing has best been described
by fellow tenor saxophonist and writer, Dave Gelly: “Following a Scott
Hamilton solo is like listening to a great conversationalist in full
flow. First comes the voice, the inimitable, assured sound of his tenor
saxophone, then the informal style and finally the amazing fluency and
eloquent command of the jazz language.” Scott was awarded the ‘Ronnie’
for International Jazz Saxophonist of the Year in the 2007 inaugural
Ronnie Scott’s Jazz Awards. It is no wonder that Scott Hamilton is in
demand the world over.
(Brian Peerless)
http://www.scotthamiltonsax.com/
///////
Biography:
Scott
Hamilton was born in 1954, in Providence, Rhode Island. During his
early childhood he heard a lot of jazz through his father’s extensive
record collection, and became acquainted with the jazz greats. He tried
out several instruments, including drums at about the age of five, piano
at six and mouth-organ. He had some clarinet lessons when he was about
eight years of age, but that was the only formal music tuition he has
ever had. Even at that age he was attracted to the sound of Johnny
Hodges, but it was not until he was about sixteen that he started
playing the saxophone seriously. From his playing mainly blues on mouth
organ, his little band gradually became more of a jazz band.
He
moved to New York in 1976 at the age of twenty-two, and through Roy
Eldridge, with whom he had played a year previously in Boston, got a
six-week gig at Michael’s Pub. Roy also paved the way for him to work
with Anita O’Day and Hank Jones. Although it was the tail-end of the of
old New York scene, a lot of the greats were still playing and he got to
work and learn from people like Eldridge, Illinois Jacquet, Vic
Dickenson and Jo Jones. Eldridge was Scott’s champion, but pulled no
punches, and could be extremely critical, something for which Scott has
always been grateful. In December of the same year John Bunch got Scott
his first recording date, for Famous Door, and was also responsible for
him joining Benny Goodman. He continued to work with Goodman at
different times until the early 1980s.
In 1977 he formed his own
quartet, which later became a quintet, with Bunch added to the group.
The same year Carl Jefferson heard him, and began recording him for his
Concord record label. More than forty albums later he is still recording
for them, having made many under his own leadership, several with his
regular British quartet of John Pearce, Dave Green and Steve Brown,
including his latest, Nocturnes & Serenades. The Quartet plus two
guests, Dave Cliff and Mark Nightingale recorded Our Delight! for Alan
Barnes’ Woodville label. A new release, Across the Tracks on Concorde is
due this May. Along the way he has made albums with Dave McKenna, Jake
Hanna, Woody Herman, Tony Bennett, Gerry Mulligan, Flip Phillips, Maxine
Sullivan, Buddy Tate, Warren Vache, many with Rosemary Clooney and a
number with another of his mentors, Ruby Braff, with whom he played
residencies at the Pizza Express Jazz Club, London in the mid-1980s.
Over the years Scott has also performed and recorded with such touring
bands as the Concord Jazz All Stars, the Concord Super Band and George
Wein’s Newport Jazz Festival All Stars.
For some years he was based
in London, where he first played in 1978, but now travels the world from
Italy. Each year, in addition to two or three residencies with the
quartet at the Pizza Express Jazz Club, British jazz club dates and
festival work including Brecon, where he is one of the patrons, he
regularly tours Germany, the Netherlands, Scandinavia, Japan, Spain and
Italy. He returns to America three or four times a year to play at
festivals, including in 2007, the New York JVC festival in June and
Irvine, California in September, and in February 2008 for three nights
at the Lincoln Centre New York.
His playing has best been described
by fellow tenor saxophonist and writer, Dave Gelly: “Following a Scott
Hamilton solo is like listening to a great conversationalist in full
flow. First comes the voice, the inimitable, assured sound of his tenor
saxophone, then the informal style and finally the amazing fluency and
eloquent command of the jazz language.” Scott was awarded the ‘Ronnie’
for International Jazz Saxophonist of the Year in the 2007 inaugural
Ronnie Scott’s Jazz Awards. It is no wonder that Scott Hamilton is in
demand the world over.
(Brian Peerless)
http://www.scotthamiltonsax.com/
///////
Review
by Scott Yanow
For this 1985 session, altoist Benny Carter (then a week short of turning 78 years old) is teamed with the lyrical trumpeter Joe Wilder and the Concord All-Stars, a contingent that also features tenor saxophonist Scott Hamilton, guitarist Ed Bickert and pianist Gene Harris. The results are predictably excellent with the septet swinging with spirit and creativity on four standards, a blues and Carter's original "A Kiss from You." This album is well worth tracking down.
https://www.allmusic.com/album/a-gentleman-and-his-music-mw0000191609
///////
Reseña
por Scott Yanow
En esta sesión de 1985, el contralto Benny Carter (a una semana de cumplir los 78 años) forma equipo con el lírico trompetista Joe Wilder y los Concord All-Stars, un contingente que también cuenta con el saxofonista tenor Scott Hamilton, el guitarrista Ed Bickert y el pianista Gene Harris. Los resultados son predeciblemente excelentes con el septeto balanceándose con espíritu y creatividad en cuatro estándares, un blues y el original de Carter "A Kiss from You". Merece la pena seguirle la pista a este álbum.
https://www.allmusic.com/album/a-gentleman-and-his-music-mw0000191609
Biography:
Scott
Hamilton was born in 1954, in Providence, Rhode Island. During his
early childhood he heard a lot of jazz through his father’s extensive
record collection, and became acquainted with the jazz greats. He tried
out several instruments, including drums at about the age of five, piano
at six and mouth-organ. He had some clarinet lessons when he was about
eight years of age, but that was the only formal music tuition he has
ever had. Even at that age he was attracted to the sound of Johnny
Hodges, but it was not until he was about sixteen that he started
playing the saxophone seriously. From his playing mainly blues on mouth
organ, his little band gradually became more of a jazz band.
He
moved to New York in 1976 at the age of twenty-two, and through Roy
Eldridge, with whom he had played a year previously in Boston, got a
six-week gig at Michael’s Pub. Roy also paved the way for him to work
with Anita O’Day and Hank Jones. Although it was the tail-end of the of
old New York scene, a lot of the greats were still playing and he got to
work and learn from people like Eldridge, Illinois Jacquet, Vic
Dickenson and Jo Jones. Eldridge was Scott’s champion, but pulled no
punches, and could be extremely critical, something for which Scott has
always been grateful. In December of the same year John Bunch got Scott
his first recording date, for Famous Door, and was also responsible for
him joining Benny Goodman. He continued to work with Goodman at
different times until the early 1980s.
In 1977 he formed his own
quartet, which later became a quintet, with Bunch added to the group.
The same year Carl Jefferson heard him, and began recording him for his
Concord record label. More than forty albums later he is still recording
for them, having made many under his own leadership, several with his
regular British quartet of John Pearce, Dave Green and Steve Brown,
including his latest, Nocturnes & Serenades. The Quartet plus two
guests, Dave Cliff and Mark Nightingale recorded Our Delight! for Alan
Barnes’ Woodville label. A new release, Across the Tracks on Concorde is
due this May. Along the way he has made albums with Dave McKenna, Jake
Hanna, Woody Herman, Tony Bennett, Gerry Mulligan, Flip Phillips, Maxine
Sullivan, Buddy Tate, Warren Vache, many with Rosemary Clooney and a
number with another of his mentors, Ruby Braff, with whom he played
residencies at the Pizza Express Jazz Club, London in the mid-1980s.
Over the years Scott has also performed and recorded with such touring
bands as the Concord Jazz All Stars, the Concord Super Band and George
Wein’s Newport Jazz Festival All Stars.
For some years he was based
in London, where he first played in 1978, but now travels the world from
Italy. Each year, in addition to two or three residencies with the
quartet at the Pizza Express Jazz Club, British jazz club dates and
festival work including Brecon, where he is one of the patrons, he
regularly tours Germany, the Netherlands, Scandinavia, Japan, Spain and
Italy. He returns to America three or four times a year to play at
festivals, including in 2007, the New York JVC festival in June and
Irvine, California in September, and in February 2008 for three nights
at the Lincoln Centre New York.
His playing has best been described
by fellow tenor saxophonist and writer, Dave Gelly: “Following a Scott
Hamilton solo is like listening to a great conversationalist in full
flow. First comes the voice, the inimitable, assured sound of his tenor
saxophone, then the informal style and finally the amazing fluency and
eloquent command of the jazz language.” Scott was awarded the ‘Ronnie’
for International Jazz Saxophonist of the Year in the 2007 inaugural
Ronnie Scott’s Jazz Awards. It is no wonder that Scott Hamilton is in
demand the world over.
(Brian Peerless)
http://www.scotthamiltonsax.com/
///////
Biography:
Scott
Hamilton was born in 1954, in Providence, Rhode Island. During his
early childhood he heard a lot of jazz through his father’s extensive
record collection, and became acquainted with the jazz greats. He tried
out several instruments, including drums at about the age of five, piano
at six and mouth-organ. He had some clarinet lessons when he was about
eight years of age, but that was the only formal music tuition he has
ever had. Even at that age he was attracted to the sound of Johnny
Hodges, but it was not until he was about sixteen that he started
playing the saxophone seriously. From his playing mainly blues on mouth
organ, his little band gradually became more of a jazz band.
He
moved to New York in 1976 at the age of twenty-two, and through Roy
Eldridge, with whom he had played a year previously in Boston, got a
six-week gig at Michael’s Pub. Roy also paved the way for him to work
with Anita O’Day and Hank Jones. Although it was the tail-end of the of
old New York scene, a lot of the greats were still playing and he got to
work and learn from people like Eldridge, Illinois Jacquet, Vic
Dickenson and Jo Jones. Eldridge was Scott’s champion, but pulled no
punches, and could be extremely critical, something for which Scott has
always been grateful. In December of the same year John Bunch got Scott
his first recording date, for Famous Door, and was also responsible for
him joining Benny Goodman. He continued to work with Goodman at
different times until the early 1980s.
In 1977 he formed his own
quartet, which later became a quintet, with Bunch added to the group.
The same year Carl Jefferson heard him, and began recording him for his
Concord record label. More than forty albums later he is still recording
for them, having made many under his own leadership, several with his
regular British quartet of John Pearce, Dave Green and Steve Brown,
including his latest, Nocturnes & Serenades. The Quartet plus two
guests, Dave Cliff and Mark Nightingale recorded Our Delight! for Alan
Barnes’ Woodville label. A new release, Across the Tracks on Concorde is
due this May. Along the way he has made albums with Dave McKenna, Jake
Hanna, Woody Herman, Tony Bennett, Gerry Mulligan, Flip Phillips, Maxine
Sullivan, Buddy Tate, Warren Vache, many with Rosemary Clooney and a
number with another of his mentors, Ruby Braff, with whom he played
residencies at the Pizza Express Jazz Club, London in the mid-1980s.
Over the years Scott has also performed and recorded with such touring
bands as the Concord Jazz All Stars, the Concord Super Band and George
Wein’s Newport Jazz Festival All Stars.
For some years he was based
in London, where he first played in 1978, but now travels the world from
Italy. Each year, in addition to two or three residencies with the
quartet at the Pizza Express Jazz Club, British jazz club dates and
festival work including Brecon, where he is one of the patrons, he
regularly tours Germany, the Netherlands, Scandinavia, Japan, Spain and
Italy. He returns to America three or four times a year to play at
festivals, including in 2007, the New York JVC festival in June and
Irvine, California in September, and in February 2008 for three nights
at the Lincoln Centre New York.
His playing has best been described
by fellow tenor saxophonist and writer, Dave Gelly: “Following a Scott
Hamilton solo is like listening to a great conversationalist in full
flow. First comes the voice, the inimitable, assured sound of his tenor
saxophone, then the informal style and finally the amazing fluency and
eloquent command of the jazz language.” Scott was awarded the ‘Ronnie’
for International Jazz Saxophonist of the Year in the 2007 inaugural
Ronnie Scott’s Jazz Awards. It is no wonder that Scott Hamilton is in
demand the world over.
(Brian Peerless)
http://www.scotthamiltonsax.com/
///////
Biography:
Scott
Hamilton was born in 1954, in Providence, Rhode Island. During his
early childhood he heard a lot of jazz through his father’s extensive
record collection, and became acquainted with the jazz greats. He tried
out several instruments, including drums at about the age of five, piano
at six and mouth-organ. He had some clarinet lessons when he was about
eight years of age, but that was the only formal music tuition he has
ever had. Even at that age he was attracted to the sound of Johnny
Hodges, but it was not until he was about sixteen that he started
playing the saxophone seriously. From his playing mainly blues on mouth
organ, his little band gradually became more of a jazz band.
He
moved to New York in 1976 at the age of twenty-two, and through Roy
Eldridge, with whom he had played a year previously in Boston, got a
six-week gig at Michael’s Pub. Roy also paved the way for him to work
with Anita O’Day and Hank Jones. Although it was the tail-end of the of
old New York scene, a lot of the greats were still playing and he got to
work and learn from people like Eldridge, Illinois Jacquet, Vic
Dickenson and Jo Jones. Eldridge was Scott’s champion, but pulled no
punches, and could be extremely critical, something for which Scott has
always been grateful. In December of the same year John Bunch got Scott
his first recording date, for Famous Door, and was also responsible for
him joining Benny Goodman. He continued to work with Goodman at
different times until the early 1980s.
In 1977 he formed his own
quartet, which later became a quintet, with Bunch added to the group.
The same year Carl Jefferson heard him, and began recording him for his
Concord record label. More than forty albums later he is still recording
for them, having made many under his own leadership, several with his
regular British quartet of John Pearce, Dave Green and Steve Brown,
including his latest, Nocturnes & Serenades. The Quartet plus two
guests, Dave Cliff and Mark Nightingale recorded Our Delight! for Alan
Barnes’ Woodville label. A new release, Across the Tracks on Concorde is
due this May. Along the way he has made albums with Dave McKenna, Jake
Hanna, Woody Herman, Tony Bennett, Gerry Mulligan, Flip Phillips, Maxine
Sullivan, Buddy Tate, Warren Vache, many with Rosemary Clooney and a
number with another of his mentors, Ruby Braff, with whom he played
residencies at the Pizza Express Jazz Club, London in the mid-1980s.
Over the years Scott has also performed and recorded with such touring
bands as the Concord Jazz All Stars, the Concord Super Band and George
Wein’s Newport Jazz Festival All Stars.
For some years he was based
in London, where he first played in 1978, but now travels the world from
Italy. Each year, in addition to two or three residencies with the
quartet at the Pizza Express Jazz Club, British jazz club dates and
festival work including Brecon, where he is one of the patrons, he
regularly tours Germany, the Netherlands, Scandinavia, Japan, Spain and
Italy. He returns to America three or four times a year to play at
festivals, including in 2007, the New York JVC festival in June and
Irvine, California in September, and in February 2008 for three nights
at the Lincoln Centre New York.
His playing has best been described
by fellow tenor saxophonist and writer, Dave Gelly: “Following a Scott
Hamilton solo is like listening to a great conversationalist in full
flow. First comes the voice, the inimitable, assured sound of his tenor
saxophone, then the informal style and finally the amazing fluency and
eloquent command of the jazz language.” Scott was awarded the ‘Ronnie’
for International Jazz Saxophonist of the Year in the 2007 inaugural
Ronnie Scott’s Jazz Awards. It is no wonder that Scott Hamilton is in
demand the world over.
(Brian Peerless)
http://www.scotthamiltonsax.com/
///////
Biography:
Scott
Hamilton was born in 1954, in Providence, Rhode Island. During his
early childhood he heard a lot of jazz through his father’s extensive
record collection, and became acquainted with the jazz greats. He tried
out several instruments, including drums at about the age of five, piano
at six and mouth-organ. He had some clarinet lessons when he was about
eight years of age, but that was the only formal music tuition he has
ever had. Even at that age he was attracted to the sound of Johnny
Hodges, but it was not until he was about sixteen that he started
playing the saxophone seriously. From his playing mainly blues on mouth
organ, his little band gradually became more of a jazz band.
He
moved to New York in 1976 at the age of twenty-two, and through Roy
Eldridge, with whom he had played a year previously in Boston, got a
six-week gig at Michael’s Pub. Roy also paved the way for him to work
with Anita O’Day and Hank Jones. Although it was the tail-end of the of
old New York scene, a lot of the greats were still playing and he got to
work and learn from people like Eldridge, Illinois Jacquet, Vic
Dickenson and Jo Jones. Eldridge was Scott’s champion, but pulled no
punches, and could be extremely critical, something for which Scott has
always been grateful. In December of the same year John Bunch got Scott
his first recording date, for Famous Door, and was also responsible for
him joining Benny Goodman. He continued to work with Goodman at
different times until the early 1980s.
In 1977 he formed his own
quartet, which later became a quintet, with Bunch added to the group.
The same year Carl Jefferson heard him, and began recording him for his
Concord record label. More than forty albums later he is still recording
for them, having made many under his own leadership, several with his
regular British quartet of John Pearce, Dave Green and Steve Brown,
including his latest, Nocturnes & Serenades. The Quartet plus two
guests, Dave Cliff and Mark Nightingale recorded Our Delight! for Alan
Barnes’ Woodville label. A new release, Across the Tracks on Concorde is
due this May. Along the way he has made albums with Dave McKenna, Jake
Hanna, Woody Herman, Tony Bennett, Gerry Mulligan, Flip Phillips, Maxine
Sullivan, Buddy Tate, Warren Vache, many with Rosemary Clooney and a
number with another of his mentors, Ruby Braff, with whom he played
residencies at the Pizza Express Jazz Club, London in the mid-1980s.
Over the years Scott has also performed and recorded with such touring
bands as the Concord Jazz All Stars, the Concord Super Band and George
Wein’s Newport Jazz Festival All Stars.
For some years he was based
in London, where he first played in 1978, but now travels the world from
Italy. Each year, in addition to two or three residencies with the
quartet at the Pizza Express Jazz Club, British jazz club dates and
festival work including Brecon, where he is one of the patrons, he
regularly tours Germany, the Netherlands, Scandinavia, Japan, Spain and
Italy. He returns to America three or four times a year to play at
festivals, including in 2007, the New York JVC festival in June and
Irvine, California in September, and in February 2008 for three nights
at the Lincoln Centre New York.
His playing has best been described
by fellow tenor saxophonist and writer, Dave Gelly: “Following a Scott
Hamilton solo is like listening to a great conversationalist in full
flow. First comes the voice, the inimitable, assured sound of his tenor
saxophone, then the informal style and finally the amazing fluency and
eloquent command of the jazz language.” Scott was awarded the ‘Ronnie’
for International Jazz Saxophonist of the Year in the 2007 inaugural
Ronnie Scott’s Jazz Awards. It is no wonder that Scott Hamilton is in
demand the world over.
(Brian Peerless)
http://www.scotthamiltonsax.com/
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