Any music fan with knowledge of San Francisco’s turn-of-the-nineties “acid jazz” scene knows that Charlie Hunter and Scott Amendola share a lengthy and profound musical history. From the much-loved T.J. Kirk project to several of Hunter’s own records and other one-off collaborations, the pair has met frequently in their orbits through the music industry. In October 2012, they released a duo album (Not Getting Behind Is The New Getting Ahead) and they’ve been touring behind it since. Billsborough Music Hall in Hillsborough, NC (just outside Chapel Hill) hosted Hunter and Amedola on a bustling Friday night and found the pair in a loose, jovial mood.
The two bounded through the crowd and onto the stage around 9:15, offering a couple of hour-long sets that reflected the easy manner of their surroundings. The audience – a mix of musical thrill-seekers, college kids, and local yokels – were treated to a virtuoso performance that was magnified via the musicians’ simple setup. Hunter’s rig consisted of six total pieces, including the unique 7-string guitar, and Amedola manned a striking, stripped-down kit just feet away. The intimate setting and tastefully restrained sound allowed listeners to hear conversations between the musicians, and Hunter’s inspired hums and groans were particularly audible.
“Oh, I’ve got one” Hunter could be heard to say as they tried to decide on a tune. Hunter played what seemed like a millisecond of the song before Amendola had already found his way in, flawlessly at that. With ease, new-album tunes like “There Used to Be a Nightclub There” and the bouncy “Not Getting Behind Is The New Getting Ahead” emerged from the stage as perfectly as possible, with Hunter and Amendola capturing the magic and immediacy of the record’s simple recording process. These two players are among the most indescribable in all of jazz, and their cinematic compositions carried exceptional weight with cars sliding by and people strolling about in the downtown-facing window behind them.
Masterfully romping through styles like blues, funk, bop, balladry, and even adding a little tropical and Latin seasoning, they kept the audience on their toes with an admirable selection of covers as well. John Lennon’s “Jealous Guy” drew smiles and knowing nods from around the tiny venue as Hunter patiently worked out the lyrical melody while still providing bass tones – perhaps his most astounding feat among many. Hank Williams’ “I’m So Lonesome I Could Cry” was similarly arranged, with Amendola and Hunter involved in an expressive interplay, wringing out the sentiment of the song through sheer instrumental will. New standards like “Sitting on Top of the World” and “Whatever Lola Wants” offered quite a bit more energy, from both the performers and the audience, and all were sent into a newly chilly night with an indelible memory.
