Scott Hamilton, Looking Back Review

by Icrom Bigrad

Seventy-year-old American tenor saxophonist Scott Hamilton embodies a jazz ethos steeped in tradition yet renewed with each note. His latest album, Looking Back, reflects his career that has spanned decades, marked by an unwavering commitment to the classic values of swing and respect for the legacies of jazz’s most significant figures. Drawing inspiration from his long and storied career, Hamilton has crafted an album that actively converses with the ghosts of his past collaborators and musical heroes, reminding listeners why his voice remains indispensable in the jazz world today.

The album features Hamilton with his longstanding Scandinavian quartet: Jan Lundgren on piano, Hans Backenroth on bass, and Kristian Leth on drums. The ensemble is built on years of shared musical language, bringing a depth and coherence to the material that can only come from profound mutual understanding. Lundgren, Backenroth, and Leth are essential contributors, breathing comradery into Hamilton’s vision. Their playing transforms even the most familiar standards into dialogues reflecting the quartet’s mastery over technical proficiency and expressive interactive musicality.

“The Maids of Cadiz” emerges as an exemplary statement of the quartet’s chemistry, with Hamilton’s tenor weaving effortlessly through the song’s harmonic landscape. His elegant lines evoke the stately grace of the original melody, but there’s a playful turn, too. When Backenroth and Leth transition from a two-beat feel to a four-beat pulse, the music takes flight, with Hamilton’s extended, melodic explorations riding the wave. Jan Lundgren’s piano solo glistens, imbued with bluesy touches that nod towards the tradition while maintaining a cohesive sensibility, complemented by Backenroth’s rich, melodic bass.

“Big Tate” is a tribute to Hamilton’s deep connection to the blues. Opening unaccompanied, Hamilton’s tenor sets up the melody with clarity and authority, allowing his sound to warmly fill the space. As the full ensemble joins, a lush medium swing groove emerges, perfectly framing Hamilton’s expressive embellishments and full-bodied tone. His bop-inflected phrases are rich with the nuances that come from decades of internalizing the jazz vocabulary— his phrases sound instinctive, highlighting his command of bebop’s intricacies and hard bop’s energy.

“Tune Up” is given a classic jazz workout that Hamilton takes in a relaxed, medium-up swing feel. The tune’s shifting key centers offer a playground for Hamilton’s fluid approach, effortlessly balancing between chordal tones and carefully placed dissonances to create a dynamic and engaging solo. Lundgren’s piano solo is built on strong rhythmic motifs, skillfully moving through the changes, while Backenroth delivers a compelling bowed bass solo that adds a fresh texture before Hamilton and Leth close the tune with a spirited exchange of phrases—a moment that encapsulates the joy and spontaneity of their interplay.

“On a Clear Day” takes the listener into a smooth Latin jazz feel. Hamilton’s round, warm tone feels almost tactile as it dances through the melody, evoking an easy, breezy atmosphere. When the rhythm shifts to swing during the bridge, it acts as a perfect prelude to Hamilton’s solo—a lyrical journey where each note is deliberately shaped. Whether it’s a subtle shake, a quick glissando, or a gentle accent, Hamilton’s phrasing is always intentional, adding layers of depth and meaning to each musical statement.

Hamilton’s playing on Looking Back is a reflection of his devotion to the tradition of swing and mainstream jazz. His tone—warm, rich, and always lyrical—serves as the bedrock of his sound, evoking comparisons to Ben Webster, Lester Young, and Coleman Hawkins. Hamilton navigates the album’s repertoire with a masterful balance of melodicism and harmonic complexity. His phrasing often builds in a conversational manner, akin to a storyteller slowly drawing the listener in with each successive phrase, revealing both the nuances of his craft and the emotion behind his musical choices.

Jan Lundgren’s piano playing offers an ideal counterpart, with a rhythmic drive that complements Hamilton’s long, flowing lines. Whether comping behind Hamilton or stepping into the spotlight, Lundgren demonstrates a sensitivity that makes his playing feel both spontaneous and intentional. Hans Backenroth’s bass provides the harmonic foundation, and his solos shine with clarity and purpose, showcasing his deep understanding of jazz harmony and melody. Kristian Leth’s drumming is subtle yet powerful, driving the music forward while allowing the soloists room to breathe and explore.

Hamilton’s choice of repertoire for Looking Back speaks volumes about his musical journey and his enduring influences. Each track acts as a tribute—not just to the original composers but also to the musicians who have played a role in Hamilton’s career. The album sounds like a musical thank-you to the mentors and heroes who have shaped Hamilton’s sound. It’s an exploration of his past filtered through the lens of a seasoned artist, someone who understands that the real beauty of jazz lies not in constant reinvention but in the deepening of one’s craft.

In many ways, Looking Back also serves as a reminder of the timelessness of the jazz tradition. While the jazz world of the late 1970s often celebrated avant-garde and boundary-pushing styles, Hamilton chose a different path—one rooted in the swinging tradition of the giants that came before him. This decision has paid off in a career that has been defined by consistency, quality, and a deep respect for jazz’s foundational elements. Hamilton’s ability to breathe new life into these well-loved standards, to make them sound both familiar and newly discovered, is perhaps his greatest gift.

Looking Back offers something vibrant and alive and reflects that Scott Hamilton’s tenor saxophone voice remains warm, conversational, and full of nuance, offering listeners a robust essence of swing and mainstream jazz. This is an album for those who cherish the timeless qualities of jazz—melody, swing, and the interplay between master musicians.