Steve Kovalcheck: Buckshot Blues

If a guitarist, pianist or anyone else who planned to record a trio could have a wish list, chances are good that one name at the top would be that of drummer Jeff Hamilton. On his 2026 album, Buckshot Blues, Colorado-based guitarist Steve Kovalcheck's wish has come true. Jon Hamar, a superb bassist, shares the rhythmic assignment with none other than the peerless Hamilton himself who can make any trio—including his own—seem several grades better than advertised.

Why? That is hard to say. One answer that springs immediately to mind is that Hamilton is not only a technical wizard but someone who is comfortably at home in any climate or framework. In other words, he knows when to roar and when to whisper, and does either one with awareness and decorum—as well as with sticks or brushes. With Hamilton doing his thing, that is one less matter of concern for Kovalcheck. Add Hamar to the mix and home plate is well within walking distance.

The rest is up to Kovalcheck, and he prevails with flying colors, playing marvelously on every one of the album's 13 numbers—eight of which he composed—while showing he also knows when to shout or murmur whenever the occasion demands. The flare-up begins on the opening track, as the trio hurries through Kovalcheck's fast-moving "Happy Train." The first of three standards, "What's New"—shining anew in Kovalcheck's sleek arrangement—is next, followed by "The Prairie's Edge," wherein Hamilton unveils his persuasive second weapon of choice, the brushes. He uses them later on "You're My Everything" and "Skylark."

"Buckshot Blues" is another burner, as is Kovalcheck's well-named "Fast Eddie." The leader wrote the breezy "Donald's Juke Joint" for pianist and composer Donald Brown, the easygoing "Bright Child" for the late organist Akiko Tsuruga. The trio nails each one, as it does Kovalcheck's amiable samba, "Daydance," the sunlit "Crab Lantern Blues" and Hamar's sauntering blues, "Big Red's Arrival." The trio wraps the handsome package with the quick-moving Johnny Cash staple, "I've Been Everywhere."

Hamar, whose arco bass introduces "The Prairie's Edge" and carries the melody on "Skylark," solos strongly whenever his name is called, as does Hamilton, while Kovalcheck's creds as a soloist are exemplary and the trio's interplay is snug and perceptive. Kovalcheck, Hamilton and Hamar—three self-evident reasons why Buckshot Blues is warmly recommended.