Szabó's guitar work gives these sessions a modern edge that keeps them from feeling dated or predictable.
What makes Chic Chic Chico worth hearing is Gábor Szabó's guitar. By 1965, Hamilton's drumming was no longer the main draw—he was a sideline voice in his own sessions—and Szabó stepped in as the album's real focal point. His playing is clean, melodic, occasionally angular, with a tone that sits between folk-inflected and electric-smooth. On the strongest tracks, he trades lines with Harold Land's tenor saxophone, and the two create real momentum together.
The supporting cast is deep. Charles Lloyd on flute adds color and brightness, while John Anderson on trumpet and Lou Blackburn on trombone give the horns weight. Albert Stinson's bass and Willie Bobo's percussion keep things steady and swinging. Nothing here embarrasses itself, but the album works in fits and starts. Some charts sit too long in their grooves without going anywhere; others snap into focus for a few bars and then drift. It's not tight enough to be essential, but Szabó keeps it interesting enough to matter.
This is a side project recording, not a statement album. AllMusic reviewer Scott Yanow's assessment—"Not essential, but this album has its strong moments"—hits the mark. If you're chasing Hamilton's best work, start elsewhere. If you want to hear what a strong guitarist could do in a mid-1960s small-group setting, this is worth spinning.