After hooking up with the Concord label in 1977, Rosemary Clooney had a renaissance. On this enjoyable set, she interprets ten of Irving Berlin's songs (including a couple of obscurities) with fine backup from a swinging septet that includes tenorman Scott Hamilton, cornetist Warren Vache, both Chris Flory and Ed Bickert on guitars and pianist John Oddo. Highlights include "Be Careful, It's My Heart," "Cheek to Cheek," "The Best Thing for You Would Be Me" and "What'll I Do."

Listening to this CD, which reached a number one chart position in Japan, is like slipping into a bubbly hot tub with a glass of champagne: relaxing and sparkling at the same time. The ever-classy Eddie Higgins Trio is joined throughout by the superb Scott Hamilton, a fluid tenorist in the romantic tradition of Lester Young and Ben Webster, with soul-touching low notes and never a squawk or squeal. Borrowing the perfect image from master critic Whitney Balliett, Hamilton's sound is like "firelit mahogany." All the playing here is elegant and swinging: classic material delivered lovingly and without cliché.

Scott Hamilton's Ballad Essentials collects interpretations of standards like "Skylark", "Body and Soul", "In a Sentimental Mood", "'Round Midnight", and "My Romance". A solid collection from one of mainstream jazz's most consistent tenor sax players.

The second CD taken from the same Tokyo date that resulted in the Concord disc In Concert finds tenor saxophonist Scott Hamilton in predictably fine form, swinging on eight standards and playing melodic variations in a swing vein. With pianist John Bunch, guitarist Chris Flory, bassist Phil Flanigan and drummer Chuck Riggs taking concise solos and offering tasteful support, Hamilton is well showcased on such tunes as "All the Things You Are," "Taps Miller," "All Too Soon" and "Jumpin' the Blues."

Tenor saxophonist Scott Hamilton's debut for Concord alerted the jazz world to the young swing stylist and predated Wynton Marsalis' first record (and the emergence of the Young Lions) by a couple years. Hamilton, who mixed together Zoot Sims and Ben Webster to form his own recognizable tone, already sounded in prime form for this set. Teamed up with trumpeter Bill Berry, pianist Nat Pierce, bassist Monty Budwig, and drummer Jake Hanna, Hamilton essentially launched the revival of mainstream jazz with this record. Highlights include "Indiana," "Stuffy," "Broadway," and "Blue Room," but all eight selections are quite enjoyable.

The 25th Scott Hamilton Concord album does not break any new ground (Hamilton's style was essentially fully formed from the start), but it is up to his usual level. Playing in Wales with a British rhythm section (pianist Brian Lemon, bassist Dave Green and drummer Allan Ganley), Hamilton sounds fine on such tunes as "Way Down Yonder In New Orleans," "I Can't Give You Anything But Love," "Fascinatin' Rhythm" and his own "Blue Wales." Solid mainstream swing.

Maxine Sullivan's final concert (although she would record part of her Jule Styne tribute studio album for Atlantic a few months later) is an excellent retrospective of her career. Joined by tenor saxophonist Scott Hamilton's quintet (with pianist John Bunch and guitarist Chris Flory), Sullivan performs for the final time some of her favorite numbers, including nostalgic and near-classic renditions of "As Long as I Live," "I Got a Right to Sing the Blues," "A Hundred Years From Today" and "You're Driving Me Crazy." Ironically, the final song that Maxine Sullivan sang was also the same tune that she had used to start her recording career back in 1937, "Loch Lomond."

The first of her two Concord CDs, this set features veteran singer Maxine Sullivan performing ten of her favorite songs, all of which originated from the swing era or before. Sullivan sounds quite happy to be joined by tenor saxophonist Scott Hamilton's very complementary quintet (which also includes guitarist Chris Flory and pianist John Bunch). The best among the familiar songs are Maxine's renditions of "I Thought About You," "Wrap Your Troubles In Dreams," "By Myself" and "I Got a Right to Sing the Blues."

Eddie Higgins started his professional career in Chicago, Illinois, while studying at the Northwestern University School of Music. An elegant and sophisticated pianist, his encyclopedic harmonic approach and wide range of his repertory made him one of the most distinctive jazz pianists to come out of Chicago, gaining the respect of local and visiting musicians for his notable mastery of the instrument. Higgins also had the unusual ability to sound equally persuasive in a broad span of music, whether he was playing traditional swing, exciting bebop or reflexive ballads, providing the tone and stylistic flavor of each styles, as both a soloist and as accompanist…

This matchup by pianist Gene Harris and tenor saxophonist Scott Hamilton, in a quintet that also includes guitarist Herb Ellis, bassist Ray Brown, and drummer Harold Jones, is fun although it does not reach the excitement level one might expect. The ballads work best, while the stomps never really catch fire or explode. Harris and Hamilton always play at a high level, but their collaboration falls short of being the expected classic despite some good moments.

Tenor-saxophonist Scott Hamilton has recorded so many records as a leader (this CD is his 27th for Concord so far) and been so consistent and unchanging through the years that it is difficult to describe any of his records as definitive. However this particular release is one of his stronger ones of recent times. Hamilton sounds quite inspired jamming on six standards, Blue Mitchell's "Blue Caper," two of Norman Simmons' originals and his own blues "Sugarchile" with a quintet consisting of the talented trombonist Joel Helleny, pianist Simmons, bassist Dennis Irwin and drummer Chuck Riggs. Hamilton takes the title cut as a feature and duets with Simmons on a brief "Just A Gigolo;" otherwise the full group is heard on each song…