  |
|
|
 |
|
CD |
| 4.776 Ft
|
|
| 1. | A Piece of Music
|
| 2. | Happiness Prevails
|
| 3. | George
|
| 4. | Nonchalant
|
| 5. | Lazy Afternoon
|
| 6. | Charlie Parker Suite
|
| 7. | Penthouse a
|
| 8. | On the Trail
|
| 9. | Broadway
|
| 10. | If You Can't Beat 'em, Fight 'em
|
| 11. | Really Makes My Day
|
| 12. | First Light
|
| 13. | Raoul
|
| 14. | Steinway
|
| 15. | I Don't Know Why (I Just Do)
|
| 16. | Lonely Woman
|
| 17. | Brother Bob
|
| 18. | The Alto of Kelso
|
Jazz
Chico Hamilton - Drums, Producer, Vocals
Cary DeNigris - Guitar
Chris Fasulo Engineer, Producer
Evan Schwam Sax (Soprano), Flute, Sax (Tenor)
George Bohanon Guest Appearance, Trombone
Jackie Kelso Guest Appearance, Sax (Alto)
Jeff Chenault Videography
Jeffrey Andrew Caddick Session Coordinator, Executive Producer
Jeremy Carlstedt Percussion
Missy Webb Assistant Engineer
Nick Banns Assistant Engineer
Paul Ramsey Bass
Tyler VanDalen Assistant Engineer
Will Quinnell Mastering
With 'Twelve Tones of Love' Chico Hamilton looks back not as a summation but with the past as a jumping off point point to where he is now; the foundation to build off of what he has to say in the here and now. This album has Chico writing for and playing with an enlarged ensemble, offering us a glimpse as it does of his lifes journey and some of those he has shared it with. Those who forge their own way may travel a harder road but their art loses none of its power with the passage of time because of these trials. 'Twelve Tones of Love' is proof of that aphorism for us to continuously enjoy.
Of Chico Hamilton's nearly dozen albums in the 2000s, this one is different in that it features a larger ensemble than the others, a septet up to a nonet, a handful of duets, and is chock-full of many new compositions from the drummer's hand that represents a synopsis of his previous seven decades in jazz, updating that history with tributes to his favorite musicians, bandmates, friends, and his wife. Hamilton sings a little, plays the drum kit a lot, and leads this group of new names, the veteran trombonist George Bohanon, and mainstay guitarist Cary DeNigris, who himself is more subdued than on recent recordings. Tenor saxophonist Evan Schwam and alto saxophonist Eddie Barbash both triple on soprano sax and flute, and are very integrated into the modern concept Hamilton has honed for decades, sounding very comfortable with their substantial roles. A master of nuance and mood setting, Hamilton's modus operandi is to play the intro of a tune in free floating time, then bust out with a static rhythm. He's also inclined to offer up multiple rhythm changes in any given composition. For instance, "Happiness Prevails" displays a churning hi-hat rhythm before nosediving into thin air, then hitting up a waltz tempo. A down/up theme introduces the horns on the "Charlie Parker Suite" where chunky funk displaces bebop. Bohanon's feature, "George," starts with a vocal chant of his name, a trombone call out, then an easy swing under his plunger induced wah-wah solo. "Penthouse A," which includes alto saxophonist Ian Young, features the roiling, tango-like cymbal rhythm that is Hamilton's signature, the band does a classic take of the swing-to-bop standard "Broadway," the flutes and a fluttery bassline identify the stripped down blues swing "Nonchalant," and the horns languish in elegance for "Steinway," an homage to Gerald Wilson, with phrases from "Afro-Blue" in 6/8 time welded in place. Up-and-comer Jose James sings in a rather plaintive tone for "Lazy Afternoon" under Hamilton's rumbling mallet tom-tom rhythms, while the vocal numbers from the leader include his gruff but soft poetry reading on "Really Makes My Day," and singing for the American popular song "I Don't Know Why." The CD concludes with duets featuring alto saxophonist Jack Kelso on a reflective "Brother Bob," then starting with a distant Kelso and a Wes Montgomery influenced DeNigris, with Hamilton replacing the guitarist for the finale "The Alto of Kelso." Clearly there's much gas in the tank for the eighty-something drummer, as he keeps cranking out fine recordings one after another in his golden years, all sounding fresh, inventive, and musically challenged. This one is no exception, and in fact is enhanced by the variety of group settings and the excellent work of the newcomers in the sax section. ~ Michael G. Nastos, All Music Guide
Chico Hamilton
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Sep 21, 1921 in Los Angeles, CA
Genre: Jazz
Styles: Boogaloo, Cool, Crossover Jazz, Hard Bop, Jazz-Funk, Post-Bop, Progressive Jazz, Soul-Jazz, West Coast Jazz
Chico Hamilton, a subtle and creative drummer, will probably always be better known for the series of quintets that he led during 1955-1965 and for his ability as a talent scout than for his fine drumming. Hamilton first played drums while in high school with the many fine young players (including Dexter Gordon, Illinois Jacquet, and Charles Mingus) who were in Los Angeles at the time. He made his recording debut with Slim Gaillard, was house drummer at Billy Berg's, toured with Lionel Hampton, and served in the military (1942-1946). In 1946, Hamilton worked briefly with Jimmy Mundy, Count Basie, and Lester Young (recording with Young). He toured as Lena Horne's drummer (on and off during 1948-1955), and gained recognition for his work with the original Gerry Mulligan piano-less quartet (1952-1953). In 1955, Hamilton put together his first quintet, a chamber jazz group with the reeds of Buddy Collette, guitarist Jim Hall, bassist Carson Smith, and cellist Fred Katz. One of the last important West Coast jazz bands, the Chico Hamilton Quintet was immediately popular and appeared in a memorable sequence in 1958's Jazz on a Summmer's Day and the Hollywood film The Sweet Smell of Success. The personnel changed over the next few years (with Paul Horn and Eric Dolphy heard on reeds, cellist Nate Gersham, guitarists John Pisano and Dennis Budimir, and several bassists passing through the group) but it retained its unusual sound. By 1961, Charles Lloyd was on tenor and flute, Gabor Szabo was the new guitarist, and soon the cello was dropped in favor of trombone (Garnett Brown and later George Bohanon), giving the group an advanced-hard bop style.
In 1966, Chico Hamilton started composing for commercials and the studios and he broke up his quintet. However, he continued leading various groups, playing music that ranged from the avant-garde to erratic fusion and advanced hard bop. Such up-and-coming musicians as Larry Coryell (1966), Steve Potts (1967), Arthur Blythe, Steve Turre (on bass, surprisingly), and Eric Person (who played in Hamilton's '90s group Euphoria) were among the younger players he helped discover. In 1989, Chico Hamilton had a recorded reunion with the original members of his 1955 quintet (with Pisano in Hall's place), and in the 1990s he made a number of records for Soul Note.
---Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
