Scott Hamilton & Harry Allen - Heavy Juice (2004)

This CD has been a recording waiting to happen for twenty years. Back then, highschooler Harry Allen joined Scott Hamilton on stage at the Newport Jazz Festival for a cameo performance with the George Wein-led Newport All-Stars. Allen grew up in Rhode Island, which also claims Hamilton as a native son. And Hamilton certainly was a role model as Allen blossomed then—and fast became a welcome young player on the New York swing jazz scene. They've had occasional chances to collaborate on the bandstand. And now, Heavy Juice enables them to join a line of great tenor summit session pairings that through the years have included Ben Webster and Coleman Hawkins, Gene Ammons and Dexter Gordon, Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This is a splendid session in which two good musical friends mine common musical ground with very similar sounds. Both favor a breathy, growling Webster tone at times. These days, Allen comes more out of a Stan Getz melodic bag, which Hamilton explored in an earlier phase. At times, when they're playing in unison or locked into the same tone, it helps to know that Hamilton is on the left stereo channel, Allen on the right. The crack rhythm section provides a strong cushion, with John Bunch's dancing hands providing some elegant twists and turns at the piano. Nothing here disappoints, but their bop-meets-R&B take on "Blues Up and Down" by Ammons and Stitt ranks as my clear favorite. It's filled with an exuberant spirit of one-upmanship until they blend together for the final shout chorus. In contrast, the Duke Ellington ballad "Warm Valley" enables them to share a Websterish blend. From start to finish, through all eight tracks, this blend of Heavy Juice is very, very good. ~ by Ken Franckling, AAJ.

Concord Jazz, CCD-2258-2, 2004

Recorded 11^th & 12^th February, 2004 At Sound On Sound Recording, New York

Musicians:

Scott Hamilton - Tenor Saxophone

Harry Allen - Tenor Saxophone

John Bunch - Piano

Dennis Irwin - Bass

Chuck Riggs - Drums

Tracks:

1. Heavy Juice {Leroy Bass, Wilburt Prysock, Tiny Bradshaw} (6:04)

2. Did You Call Her Today? {Ben Webster} (6:57)

3. Groovin' High {Dizzy Gillespie} (7:03)

4. If I Should Lose You {Leo Robin, Ralph Rainger} (6:48)

5. Blues Up And Down {Gene Ammons, Sonny Stitt} (6:29)

6. If Dreams Come True {Benny Goodman, Edgar Sampson, Irving Mills} (8:32)

7. Warm Valley {Duke Ellington} (5:47)

8. Ow! {Dizzy Gillespie} (9:06)

Total Time: 56:46

Credits:

Producer - Scott Hamilton

Executive-Producer - John Burk

Recording & Mixing Engineer - Josiah Gluck

Mastering Engineer - Seth Presant

Design [Package Design] – Kurt Sievert

Photography - Jay Andersen

Liner Notes - Ira Gitler

Harry Allen-Joe Cohn Quartet, The - Hey, Look Me Over (2004)

The first fact one needs to know about the Harry Allen-Joe Cohn Quartet is that it is, as described in the liner notes, a "working band." This may sound like a negligible fact on Hey, Look Me Over, but it isn't. A number of famous combos in the history of jazz have only played together in the studio. Here, however, guitarist Cohn, tenor Allen, bassist Joel Forbes, and drummer Chuck Riggs have developed the synchronicity that only comes from performing together night after night. For Hey, Look Me Over, that equals an hour of lovely ensemble work highlighted by some well-wrought guitar and tenor workouts on a solid set list. The next thing one would want to know about the Harry Allen-Joe Cohn Quartet is that they play traditional mainstream jazz with such pizzazz that one would never mistake it for regurgitated classics. With two or three exceptions, this is an upbeat, happening set, with vibrant versions of Charlie Christian-Benny Goodman's "Seven Come Eleven" and the title cut. "Seven Come Eleven," in particular, is a six-minute free-for-all, with superb back-and-forth exchanges between Cohn and Allen played against Forbes' busy bassline and Riggs' frantic backbeat. Hey, Look Me Over is the kind of tuneful, well-executed album that makes the listener feel good. ~ by Ronnie D. Lankford, Jr., AMG.

Arbors Records, ARCD 19333, 2004

Recorded 28^th & 29^th August, 2004 At Nola Studios, New York City

Musicians:

Harry Allen - Tenor Saxophone

Joe Cohn - Guitar

Joel Forbes - Bass

Chuck Riggs - Drums

Tracks:

01. With The Wind And The Rain In Your Hair {Jack Lawrence, Clara Edwards} (6:30)

02. Take Four {Al Cohn} (6:08)

03. It's Been A Long, Long Time {Sammy Cahn, Jule Styne} (6:11)

04. Hey, Look Me Over! {Carol Leigh, Cy Coleman} (6:19)

05. Seven Come Eleven {Charlie Christian, Benny Goodman} (5:30)

06. I'll Only Miss Her When I Think Of Her {Sammy Cahn, Jimmy Van Heusen} (6:24)

07. Travisimo {Al Cohn} (6:08)

08. Get Out {Harry Allen} (6:32)

09. Pick Yourself Up {Dorothy Fields, Jerome Kern} (3:18)

10. Danielle {Al Cohn} (7:30)

Credits:

Producer - Harry Allen

Executive Producer - Ikuyoshi Hirakawa for Swingbros, Inc., Japan

U.S. Executive Producers - Rachel and Mat Domber for Arbors Records, Inc.

Total Time: 60:30

Ruby Braff & Scott Hamilton Concord Session

When Ruby Braff joined the Scott Hamilton quintet in 1985, magic ensued.  Recording for the Concord Jazz label, these two giants laid down enough material for two albums.  A First and A Sailboat In The Moonlight are both treasures in the mainstream/straight-ahead jazz category.

Anyone who was here at the Crypt when I was sharing my Hamilton sides, knows how great this group was.  With Flory on the guitar, the group was a working unit touring and recording together.  With Ruby Braff added to the fray, I dare say that this is a perfect combination of players.  I'll leave that decision up to you guys.

"Moonlight" was ripped from CD using EAC, dithered to 16/44.1 FLAC.  A First was ripped from my LP at 24/44.1 wav and dithered to 16/44.1 FLAC.  The latter has some noise issues which come and go throughout the album.  The vinyl appears perfect, like all of my Concord sides, but clearly has some groove damage.  It's listenable but certainly not up to my standard.  The good news is that it's available for purchase, and I have decided to publish it here at The Crypt to give everyone a taste.  I have not published many great titles in the past because the fidelity is simply not there.  I have quite high standards for the Crypt, as do all of the great authors here.  We only wish the best for our followers.  So now that my novella is complete... enjoy!!!

Concord Jazz CJ 274/296
1985

Bass – Phil Flanigan;  Cornet – Ruby Braff;  Drums – Chuck Riggs;  Guitar – Chris Flory;
Piano – John Bunch;  Tenor Saxophone – Scott Hamilton

____________________________________________________________

A First (CJ-274)

Although it is implied with its title that this was the first collaboration between cornetist Ruby Braff and tenor-saxophonist Scott Hamilton, they had recorded a date back in December 1983 for the Swedish Phontastic label. Accompanied by Hamilton's regular quartet of the period (pianist John Bunch, guitaristChris Flory, bassist Phil Flanigan and drummer Chuck Riggs), Braff and Hamilton inspire each other and play some explosive and consistently passionate solos. Highlights include a surprisingly hard-swinging "Rockin' Chair," "Dinah," "All My Life" and "Bugle Blues." Recommended. - Scott Yanow

        A Sailboat In The Moonlight (CJ-296)

Taken from the same sessions as A First, this collaboration between veteran cornetist Ruby Braff and the relatively young tenor great Scott Hamilton lives up to its potential. With strong assistance from pianist John Bunch, guitarist Chris Flory, bassist Phil Flanigan and drummer Chuck Riggs, Braff and Hamilton are a perfect team on such joyful swing tunes as "A Sailboat in the Moonlight," "'Deed I Do," "Jeepers Creepers" and "Sweethearts on Parade." All eight selections (even the obscure "Milkman's Matinee") are well worth hearing, making this a highly recommended set. - Scott Yanow