CHICO HAMILTON TRIO (10") Pacific Jazz / PJLP-17

$

50

Issued on Pacific Jazz Records, 1957,  PJLP-17, PJ-434.
MEGA-RARE, 10" release.  Long out of print.
Record is Vg+ to M-. High Fidelity, Microgroove.
Sleeve is still intact, no splits.
Photos are front and back of item.
I've only the one, never seen another.
Questions, don't hesitate to Email me.
I don't have a turntable.

                       ALBUM REVIEW
Chico Hamilton's earliest bands in a trio setting featured two fine rising stars of jazz guitar in Howard Roberts and Jim Hall. With the always exceptional George Duvivier playing bass throughout, these three-piece bands laid a foundation for many of Hamilton's more famous groups in the '60s that sported sidemen Larry Coryell and Gabor Szabo. There are hints of the hardcore jazz swing and Latin boogaloo amalgam that Hamilton would perfect, but for this compilation of recordings originally for the Pacific Jazz label, you hear his immaculate work on brushes, more prevalent than his sticks, although many tunes combine the two as he switches off. The eight tracks with the refined playing of Roberts moves from a delicate, tasteful version of "Broadway," through the slow, somewhat abstract "Street of Drums," and the ballad "What Is There to Say?" But then the pace picks up with the quick "Nuttye" reinforced by backdrop scat, and the bass led bop-to-funk "Buddy Boo" where Hamilton's developing style is emerging. Rumbling and tribal drums for the late-night "Uganda" buoys the patient guitar of Roberts, while the two minute shortie "Lollypop" is a delicious call and response bopper. As polished as the playing of Roberts is, the sessions with the brilliant Jim Hall are the gems of the set, with all of the compositions penned by Duvivier. "Autumn Landscape" is a bit somber and regretful, while "Porch Light" reads angular à la Thelonious Monk with the guitarist stepping up. A unique, fluid, and dynamic voice at this stage of his career, Hall holds sway in a consistent mezzo piano volume for the bop tinged "Blues on the Rocks" before Hamilton's deft solo on brushes, but with the wire flanges plays his tom-toms in ultra melodic and inventive fashion for "Skynned Strings." An entry point recording for Chico Hamilton, it displays his savory good common sense well before being more trend and fashion conscious, as psychedelia and fusion took over commercialized jazz. What needs to be recognized is that Hamilton did not so much assimilate the trends, but modified and adapted his music to the sign of the times and his own unique talents. This CD represents him at a more innocent time when jazz was not so adulterated by more popular forms, and is a fine West Coast style time capsule for the era.
                            TRACKS
            Side One                     Side Two
1. Broadway                      1. Buddy Boo
2. What Is There To Say    2. We'll Be Together Again
3. Street Of Drums            3.  Ugandi
4.Nuttye                             4. Lollypop             

                                     BIOGRAPHY
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.

                                  VINYL
These records belonged to a great Jazz fan.
They were used and enjoyed. Most are long out of print.
I will be listing an extensive catalog of great releases.
 Some are available, as expensive, Japanese ONLY releases, on CD.                   
All will be sold as-is. Ask questions.