Hamilton

Chico Hamilton - The Chico Hamilton Trio Introducing Freddie Gambrell (1958) {Japan Pacific Jazz TOCJ-5366 rel 1991}
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© 1958, 1991 Pacific Jazz / Toshiba-EMI Japan | TOCJ-5366
Jazz / Cool / West Coast Jazz / Piano Trio

Chico Hamilton Trio Introducing Freddie Gambrell is an album by drummer and bandleader Chico Hamilton released on the World Pacific label. Freddie Gambrell was a little known West Coast pianist playing at San Franciscos Bop City club when, in 1956, Chico Hamilton heard him for the first time. I was so impressed while listening to him play that I felt I must play with this guywhich often happens to a musician when he hears something that he really digs, especially if he is right there when its happeningand so I did, said Hamilton. Gambrells fresh, lively talent was immediately accepted throughout the jazz scene when his playing was heard on his first album, under Chico Hamiltons leadership.

Sparse but compelling gospel recordings from the late 60s and early 70s, brimming with the soul sounds for which Dave Hamilton is renowned.

Andrew Hill & Chico Hamilton - Dreams Come True (2008) {Joyous Shout! ‎JS10010 rec 1993}
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© 1993, 2008 Joyous Shout! ‎| JS 10010
Jazz / Post Bop / Piano / Drums

More than anything, music is similar to line. Music is also unidirectional; it cannot back up within the same context and repeat what has just been done. Excluding the shallowness or depth of the resonance of sound, the dimensionality in music stems from the intersection of lines as one instrumental line overlaps the other. An example of this interrelationship comes in a 1993 duo date with drummer Chico Hamilton and the late, unsurpassable pianist, Andrew Hill, on Dreams Come True.

Planet Jazz gives the impression that guitarist/keyboardist Ed Hamilton has sublimated more adventurous instincts to stay on target with his handlers' bid for mass appeal. Only occasionally does he hint at having a voice of his own: for example, when executing an unexpected turn of phrase in a high-speed run up the neck or in moments when his jazz, rock, and pop confections coalesce into glimmerings of a direction worthy of further exploration. Overall, though, the focus on this 1996 release is on sweet, hummable hooks rather than swinging improvisation. Still, on a couple of the 12 Hamilton originals here, the young Philadelphian impresses with some nice Wes Montgomery-inspired work.