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Scott Hamilton

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Scott Hamilton tour dates 2024

Scott Hamilton is currently touring across 1 country and has 2 upcoming concerts.

Their next tour date is at Schauplatz Langenfeld in Langenfeld, after that they'll be at Ledigenheim Lohberg in Dinslaken.

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Schauplatz Langenfeld

Ledigenheim Lohberg

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Elbjazz Festival

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I've seen Scott Hamilton 4 times now and there is no question he is one of the finest saxophonists in the world. His smooth style and iconic tone set him apart from the rest. This concert was no exception and Brian Kellock and Scott Hamilton compliment each other like caviar and fine wine. A must see for any jazz fan.

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Scott Hamilton

Over the course of more than thirty albums as a leader, tenor saxophonist Scott Hamilton has had some inspired encounters with jazz greats, including pianists Gene Harris and Dave McKenna, guitarists Charlie Byrd and Bucky Pizzarelli, trumpeters Ruby Braff and Warren Vache, saxophonists Flip Phillips and Gerry Mulligan, and vocalists Maxine Sullivan and Rosemary Clooney. Now he can add to that elite list the name of Bill Charlap, whose wonderful piano trio (featuring bassist Peter Washington and drummer Kenny Washington) fits perfectly with Hamilton’s warm-toned, effortlessly swinging tenor sax on Back In New York .

Back in New York , recorded in the city that the saxophonist once called home for 25-years, is a collection of swinging jazz standards that Hamilton has frequently played in concert but has never recorded¾until now. With his trademark robust tone and relaxed, fluid delivery, Hamilton puts his stamp on chestnuts like Cole Porter’s “What Is This Thing Called Love?” Lerner & Lowe’s “I’ve Grown Accustomed To Her Face,” and Sammy Cahn’s “Wonder Why.” And, his irrepressible swing factor ignites bop anthems like Dizzy Gillespie’s “Blue ‘N’ Boogie” and Bud Powell’s “Bouncing With Bud.” Throughout, Charlap’s tightly-knit trio (a working unit since 1997 with a string of acclaimed recordings to its credit) enhances the program with uncanny empathy and a willingness to selflessly serve the song. A consummate accompanist and player of extraordinary sensitivity and harmonic sophistication, the pianist brings an elegant touch to the proceedings, blending brilliantly with Hamilton’s signature lyricism.

Hamilton first met Charlap in the early 1990s. “I remember going to see Phil Woods at the Iridium in New York, and Bill did a trio number in the middle of the set that was so musical,” says the bandleader. “I was stunned by the absolute musicality of his playing. It’s just something that really got to me. He’s really got that ability to communicate on a much deeper level, which is so rare.” The pair performed together for the first time in Spain about five years ago, which became the catalyst for this collaboration.

Hamilton is also intimately acquainted with the tasteful rhythm section playing of drummer Kenny Washington and bassist Peter Washington (no relation) and admits to wanting to record with them for a long time. “I’ve known Kenny since we played together when he was about 18,” says Scott of the 47-year-old drummer, who has been a ubiquitous figure on the New York jazz session scene for years. “And, Peter was supposed to play on the Tommy Flanagan date that I did some years ago (1997’s After Hours). However, he had a family emergency and unfortunately couldn’t make it.”

From the first note of the CD, however, one would easily be fooled into believing that this quartet had been performing together regularly for years. Charlap’s highly interactive trio demonstrate a remarkable chemistry from track to track on Back in New York , elevating the proceedings with a buoyant, self-assured sense of swing that is only found in the most seasoned of groups. “The thing that gets to me is how many things I didn’t hear at the time that we were in the studio,” says Hamilton. “When I was playing with them it just felt good. But, the things the trio does behind me are so subtle, and there are so many of them, you almost don’t appreciate them just hearing it live. It makes you glad there’s a recording of it, so you can go back and really check out the intricacies of what they were doing.”

They come charging out of the gate in jaunty fashion on a spirited rendition of Cole Porter’s “What Is This Thing Called Love?” After a smoky, Ben Webster-ish tenor intro by Hamilton, the quartet skips into brisk swing mode with Scott leading the way. Both Hamilton’s and Charlap’s solos are marvels of melodic invention in fluid swing time. Note Charlap’s delicate accompaniment behind Peter Washington’s agile bass solo here. The trio’s take on the Sammy Cahn-Nikolaus Brodszky nugget “Wonder Why” is a model of soulful restraint and easy-flowing momentum that recalls quintessential jazz piano trios led by the likes of Bobby Timmons, Wynton Kelly and Red Garland. Hamilton naturally takes to this kind of laid-back swing feel with sheer delight, turning in some of his most expressive playing on Back In New York .

The four get frisky on Dizzy’s aptly-titled “Blue ‘N’ Boogie,” an up tempo romp showcasing Hamilton’s bluesy, jam-oriented side and reflecting the influence of such important tenor sax icons as Eddie “Lockjaw” Davis, Gene Ammons and Flip Phillips. Shifting gears dramatically, they next turn in a sublime rendition of the Broadway show tune “I’ve Grown Accustomed To Her Face”(from My Fair Lady ), which is underscored by Kenny Washington’s sensitive brushwork and highlighted by Hamilton’s lush tone and lyrical approach, alongside Charlap’s graceful piano accompaniment. “Lullaby Of The Leaves” is another brilliant example of the quartet easing into an effortless midtempo swing groove, which is firmly anchored by Peter Washington’s steady, deep-toned pulse and marked by some particularly interactive drumming from Kenny Washington.

“Fine And Dandy” is a crackling up tempo jamming vehicle that provides plenty of sparks along the way. Hamilton turns in some of his most exuberant tenor playing here, while Charlap tips his hat to Hank Jones in his own ebulliently swinging solo on this surging Swing Era staple (from a 1930 Broadway musical of the same name by George Gershwin intimate Kay Swift). On “Bouncing With Bud,” Hamilton and Charlap link up with tight unison lines on the head before letting loose with some freewheeling improv, while Mssrs. Washington supply the requisite bounce. They also turn in an alluring bossa nova rendition of the Victor Young-Edward Heymann standard “Love Letters” and offer a sublime reading of the stirring Harry Warren-Mack Gordon ballad “This Is Always.” Charlap’s delicate touch and deep harmonic language is highlighted in the middle section here when the rhythm section drops out, allowing Hamilton and Charlap to engage in a refined dialogue of lush tones and lyrical intentions.

The beguiling closer, “I’ve Just Seen Her,” is from an obscure Broadway show from the 1960s called All-American . As Hamilton explains, “Duke Ellington had made a record of songs from that show. It’s kind of an unmemorable record, in a lot of ways, except for this one tune where Paul Gonsalves plays this ballad. Years later, I did a record date with Gerry Mulligan where we played that tune (1986’s Soft Lights & Sweet Music on Concord Jazz). And, as it turned out, Bill later recorded it on one of his albums (1998’s All Through The Night on Criss Cross). He told me, ‘The reason I recorded that song is because I had that recording that you made with Gerry Mulligan and I liked it.’ So, when we finally got together, I thought ‘I’ve Just Seen Her’ has to be one of the tracks on the CD.”

From start to finish, Hamilton strikes a wonderful chemistry with Charlap’s trio on Back in New York . Together they cast a charming, easy-swinging spell that goes down like late-night cognac. As Peter Straub says in the liner notes: “It’s like (Stan) Getz or (Sonny) Stitt on their records with (Oscar) Peterson’s trio: playing that suggests absolute relaxation combined with a deep, unfailing well of inspired ideas.” Let’s hope Hamilton makes it back to New York again soon.

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Home » Jazz Articles » Album Review » Scott Hamilton / Rein de Graaff Trio: Live at the JazzRoom

Scott Hamilton / Rein de Graaff Trio: Live at the JazzRoom

Rein De Graaff

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Groovin’ High; Flamingo; Apple Honey; Speak Low; Darn That Dream; Move; Good Bait.

Scott Hamilton

Scott Hamilton: tenor saxophone; Rein de Graaff: piano; Marius Beets: bass; Eric Ineke: drums.

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Title: Live at the JazzRoom | Year Released: 2016 | Record Label: Self Produced

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Instrument: Saxophone, tenor

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Scott Hamilton

Scott Hamilton is a true living legend and one of the all time great American Tenor Saxophone players. His big, warm, golden saxophone tone and perfect sense of swing carries on the tradition of the classic jazz tenor masters in the style of Ben Webster, Coleman Hawkins as well as Zoot Sims and Don Byas. 

He still successfully bridges the gap between swing and bop with a fluency and elegance that not many players achieve. With his trademark of a relaxed, elegant, warm and deep but effortless sound, Hamilton puts his own stamp on his style. He has recorded with some of the best pianists in the business (Tommy Flanagan, Gene Harris, John Bunch, Norman Simmons), as well as having played with Benny Goodman and Rosemary Clooney. Scott became a Concord recording artist in 1977, the huge publicity that followed guaranteeing a heady round of clubs, festivals and recordings around the world. Since then he has recorded over 40 albums for Concord. 

“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.” – Dave Gelly, The Guardian

“As for Scott Hamilton, he is playing more swinging, inventive, and hot tenor sax than anyone else on the scene today” – DownBeat

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 the age of about 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 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. Eldridge also paved the way for him to work with Anita O’Day and Hank Jones. Although it was the tail-end of the 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 Hamilton has always been grateful. In December of the same year John Bunch got Hamilton 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 was released in 2009 . 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 all over the world.

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Tenor saxophonist Scott Hamilton first played in London’s Pizza Express over 40 years ago. For the last 20 years his accompanists in the club on his regular visits have been John Pearce (piano), Dave Green (bass) and Steve Brown (drums). To celebrate these enduring relationships Pizza Express’s new record label, PX Records, has released At Pizza Express Live , which was recorded in the club during Hamilton’s 2022 residency.

“We’ve done two previous live recordings in the Pizza and both of them are now out of print,” says Hamilton. “But the gig continues to be very successful and we have a lot of new songs and we wanted to have something that represented us now. The quality of the recording is very good and the band sounds really good and I’m looking forward to people hearing it.”

Hamilton explains his fondness for playing, year after year, with the same musicians. “I’ve always had groups over long periods of time. Very often there comes a time when a good group stops sounding good. You get tired of what you’re doing. But it’s been 20-some years now with this particular group and we haven’t had a time when we weren’t all very enthusiastic about getting together and playing together.”

Hamilton guffaws at my query about band rehearsals. “None of us have time to rehearse! I rehearse in my head when I’m not playing and we develop stuff while we’re on the gig.”

Musicians don’t need to be buddies to work successfully together in a band, Hamilton argues: “You don’t need to get on but we do. We like each other and I think when you have a group like that, that’s the best. But I’ve been in good bands where nobody talked to one another. And the guys in Duke Ellington’s band didn’t speak to each other for 20 or 30 years. They used to go into a coffee shop and sit at 16 tables! But they sounded great.”

As a band leader, both with his Pizza Express band and with other bands in other territories, how much does Hamilton guide his musicians as to what he wants them to do? “I do as little suggesting as possible,” he says. “I play with a lot of groups and everybody has different strengths and weaknesses and that’s a good way to get ideas because you never know what guys are going to do with a particular song. If something really needs spelled out I’ll say it, but very often I get more ideas from the musicians than they do from me!”

Hamilton enthuses about the Pizza Express. “It’s one of the nicest jazz clubs I’ve ever played in. We have a Steinway piano, a really good sound system and the atmosphere has always been great. It’s a friendly place and it’s not strictly business. And I think the audience feels that as well.”

At Pizza Express Live includes an interpretation of the Dizzy Gillespie-associated Tin Tin Deo. “I was playing an arrangement of it for two saxophones with a tenor player in Barcelona and I thought ‘It would be really nice to have a tune like this in our repertoire, to break things up.’ We play bossa novas and things like that but we didn’t have anything quite as fiery as that. And I used to be on the same festivals as Tommy Flanagan’s group and Tommy had an arrangement for Tin Tin Deo which was extremely exciting and I wanted to steal a bit of that!”

‘Gillespie knew more about harmony and musical theory than most jazz musicians even today. And he understood that rhythm was the driving force, the thing that makes everything else possible’

Hamilton actually knew Gillespie. “Back in the day we were often in the same place at the same time on festivals and on jazz cruises in the Caribbean. I can’t say we were close friends but we knew one another and I admired him and I still learn a lot from listening to him – he knew more about harmony and musical theory than most jazz musicians even today. And he understood that rhythm was the driving force, the thing that makes everything else possible.”

A version of Black Velvet by Illinois Jacquet, one of Hamilton’s great inspirations, is also on the album. “I saw Illinois play in the early 70s when I was young and I don’t think anyone was playing tenor as well as him at that time,” he says. “He was a very powerful player and he continued to play beautifully right up until he was 80 years old.”

Hamilton has declared that Jacquet’s 1968 Bottoms Up album actually changed his life. He has further said that, at an earlier age, hearing the Beatles’ Rubber Soul and the Beach Boys’ Pet Sounds was also life-changing. My suggestion that he might have soon grown out of such rock records as his love for jazz deepened gets short shrift from Hamilton. “I still listen to them now and I love them! I really enjoy listening to pop music from my childhood and I also listen to a lot of pop music that I missed in the 70s and 80s – things by Stevie Wonder and Earth Wind & Fire and Marvin Gaye and Steely Dan. I like those things.”

At Pizza Express Live contains a few tracks like The Girl From Ipanema that are familiar to everybody in versions performed by vocalists. The age-old question for instrumentalists, of course, is, do they think of the lyrics as they play? “I didn’t ever think about lyrics when I was young,” admits Hamilton. “But the older I get the more I think it helps. It’s actually a nice thing to think about when you’re playing.”

Hamilton has been internationally recognised since his first Concord album, Scott Hamilton Is A Good Wind Who Is Blowing Us No Ill , in 1977, when he was 22. He explains how he thinks his playing has changed over the course of his career. “Well, I’m 68 years old now and I can’t play the way I played when I was 35 when I was physically at the top of my game technically. But I think I’m better now than when I was 22 when I didn’t know what I was doing. And I know more than I did when I was 35. I just can’t play as fast!”

His basic style is essentially unchanged, however, for Hamilton has pretty much played mainstream – swing jazz – for his entire career. “I might have done all kinds of things if somebody had asked me,” he laughs. “If somebody had asked me to make a more contemporary jazz album I might have tried to do it. But I knew how to play the songs I was playing and I try to keep fresh things coming into the repertoire and I play them differently every night so for me every time I play it’s contemporary and fresh to me.”

‘I grew up half an hour from Berklee College of Music and I could have gone there but I wanted to get out and play in bars and night clubs. I didn’t want to sit in a classroom’

Unlike virtually every jazz musician who has emerged in recent decades, Hamilton didn’t study the music in college. In fact his entire formal musical training comprised a few clarinet lessons when he was eight. Does he regret missing out on the educational opportunities so many musicians had? “I wouldn’t have enjoyed being in school. I grew up half an hour from Berklee College of Music and I could have gone there but I wanted to get out and play in bars and night clubs. I didn’t want to sit in a classroom. In some ways it took me longer to learn things than it might have done if I’d gone to school but the way I learned was enjoyable and I eventually learned the things I needed to learn. There are still things I would like to know more about but I find if I want to learn something, my brain works a little slower now!”

Asked about his practice regime, Hamilton answers, “I’m not proud of it but I don’t practise at all. I don’t have any practice discipline of any kind. I never developed those habits. But I try to keep busy [gigging] and if I’m busy playing I figure, well, that’s almost the same as practising!”

Having early in his career based himself in New York, Hamilton now lives in Italy. “After a certain point it didn’t make any sense staying in America. I loved New York but it was expensive and by the late 90s I was hardly ever working there. Beginning in the mid-90s I was working 200 and some days a year in England so I moved over to London and had a flat in Queensway for six or seven years after already having been practically living there for six or seven years. But there came a time when the work around England was slowing down for me and I was beginning to work on the Continent a lot more and it made sense to move some place cheaper so I moved to Italy and I’ve not regretted it. It’s very reasonable and I have friends there and it’s very restful when I’m not working.”

But does he speak Italian? “I’m terrible. I’m so bad it’s embarrassing!” he groans.

‘New York is still the centre of everything important’

Hamilton’s physical album collection hasn’t managed to survive his international relocations. “I left all my LPs back in New York in the 90s and when I moved to Italy I sold all my CDs because it was just too difficult to carry them. Now I’ve got everything I listened to, classical music and pop music and jazz, on my iPad and I just put it on shuffle and listen to whatever comes up.”

Some critics argue that jazz’s centre of gravity has moved from America, and New York in particular, to Europe. Is that possible, I wonder? Or will jazz, for whatever socio-cultural reasons, always be an American music? “The origin of jazz will always be America,” says Hamilton. “That doesn’t mean that people aren’t proficient playing it everywhere these days. If you went to New York today you’d see thousands of jazz musicians from every corner of the world so it’s international and there’s a lot of interesting music being made all around the world. But, yeah, definitely, New York is still the centre of everything important.”

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SCOTT HAMILTON

Scott Hamilton’s career started in the late seventies. But the budding saxophonist explicitly did not devote himself to the fusion sounds that were en vogue at the time - Scott Hamilton plays classic swing. As if the forties never ended. Coleman Hawkins and Lester Young inspired the young American, who soon went out on tour with Benny Goodman and Rosemary Clooney and started leading his own bands. Hamilton's straight-ahead jazz sound has remained at the highest standard for decades; Downbeat magazine even wrote: "Scott Hamilton plays his tenor saxophone more inventively and with more swing than anyone else on the scene today". Now, on the eve of his 70th birthday, Scott Hamilton is coming to ELBJAZZ with his Dutch quartet. Very rarely have we heard standards sound so warm and rounded.

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Past Events

Here are the most recent UK tour dates we had listed for Scott Hamilton. Were you there?

• Sat 5 Mar London, PizzaExpress Jazz Club (Soho) Scott Hamilton Norma Winstone, Nikki Iles Quartet, Stan Sulzmann, Henry Lowther's Still Waters

January 2020

• Sun 19 Jan Wolverhampton, Newhampton Arts Centre Scott Hamilton
• Sun 12 Jan St. Albans, Maltings Arts Theatre Scott Hamilton

August 2019

• Sat 10 Aug Brecon, The Guildhall Scott Hamilton

February 2019

• Sun 3 Feb Southport, Royal Clifton Hotel Champian Fulton Trio, Scott Hamilton
• Fri 13 Jul Wigan, Robin Park Champian Fulton, Scott Hamilton
• Sat 17 Mar Aberdeen, Carmelite Hotel Scott Hamilton, Brian Kellock
• Sat 25 Jun Glasgow, City Halls Scott Hamilton, Brian Kellock
• Sun 24 Apr Budleigh Salterton, The Public Hall Craig Milverton Trio, Tina May, Scott Hamilton, Julian Marc Stringle
• Sat 23 Apr Budleigh Salterton, The Public Hall Craig Milverton Trio, The Three Tenors, Scott Hamilton, Julian Marc Stringle, Robert Fowler
• Tue 7 Apr Brentwood, Bardswell Social Club Scott Hamilton, John Pearce Trio

January 2014

• Thu 16 Jan Folkestone, Tower Theatre Folkstone Scott Hamilton
• Sun 12 Jan Chelmsford Theatre Scott Hamilton, Alan Barnes, John Pearce Trio
• Wed 3 Apr Norwich, Lakeside Country Club Scott Hamilton

January 2013

• Fri 18 Jan Bury St Edmunds, The Hunter Club Scott Hamilton, Chris Ingham Trio
• Thu 17 Jan Folkestone, Tower Theatre Folkstone Scott Hamilton
• Sun 22 Apr Plymouth, Matchroom Suite Scott Hamilton, Craig Milverton Trio
• Fri 20 Apr Ilminster Arts Centre Scott Hamilton, Alan Barnes
• Thu 5 Apr Cardiff, Cafe Jazz Scott Hamilton

January 2012

• Fri 20 Jan Sheffield, Millennium Hall Alan Barnes Quintet, Scott Hamilton
• Fri 13 Jan Derby, Assembly Rooms Scott Hamilton, Alan Barnes, Dave Newton Trio
• Tue 10 Jan Brentwood, Bardswell Social Club Scott Hamilton, John Pearce, Dave Green, Steve Brown
• Fri 1 Jul London, Bush Hall Scott Hamilton, Harry Allen

August 2010

• Sun 15 Aug Codicote, Bell Inn Scott Hamilton, John Pearce (1), Dave Green, Clark Tracey

January 2010

• Fri 8 Jan Tunbridge Wells Jazz Club at Masonic Centre Scott Hamilton

October 2009

• Fri 2 Oct Darlington Arts Centre Alan Barnes, Scott Hamilton

January 2009

• Thu 8 Jan London, University College School Scott Hamilton, John Pearce, Steve Brown (2), Dave Green John Pearce (1)

August 2008

• Wed 6 Aug Eastleigh, The Concorde Club & Ellington Lodge Joe Temperley, Scott Hamilton, John Bunch Trio

August 2007

• Sun 12 Aug Brecon Market Hall Humphrey Lyttelton & His Band, Joe Temperley, Scott Hamilton The Humphrey Lyttelton Band
• Sat 11 Aug Brecon, The Guildhall Scott Hamilton, Jim Mullen Organ Trio
• Fri 13 Jul Boxford, The Fleece Steve Fishwick Quintet, Scott Hamilton
• Sat 30 Jun Droitwich Spa, Norbury Theatre Scott Hamilton