Jazz

Coleman Hawkins - Desafinado (1962)

2009-10-16T12:24:27Z

Coleman Hawkins - Desafinado (1962)


1. Desafinado
2. I'm Looking Over a Four Leaf Closer (Jazz Samba)
3. Samba Para Bean
4. I Remember You
5. One Note Samba (Samba de Uma Nota So)
6. O Pato (The Duck)
7. Un Abraco No Bonfa (An Embrace to Bonfa)
8. Stumpy Bossa Nova 

Personnel:
    Coleman Hawkins — tenor saxophone
    Howard Collins, Barry Galbraith — guitar
    Major Holley — bass
    Eddie Locke — drums, percussion
    Tommy Flanagan — claves
    Willie Rodriguez — percussion
    Manny Albam — arranger

That Coleman Hawkins jumped on the jazz/bossa nova bandwagon craze initiated by Stan Getz in 1962 was a bit of a surprise to his fans, but that he was comfortable in the idiom should not be off-putting. Able to adapt to any style over his lengthy career, the legendary tenor saxophonist chose classic standards adapted to Brazilian rhythms, music from masters like Antonio Carlos Jobim and João Gilberto, and a Manny Albam original. Producer Bob Thiele and music director Albam were strong in their resolve directing Hawkins to do this project, and the results are fairly predictable, especially considering that every single track is played in midtempo. The difference is the deployment of two guitarists in Barry Galbraith (lead) and Howard Collins (rhythm) split into separate stereo channels, with bassist Major Holley and no full kit drummer, although Eddie Locke with a minimal and stripped-down setup, Willie Rodriguez, and even Tommy Flanagan play small Latin percussion instruments. Themes derived from nights in Rio such as the beautifully rendered title track and "One Note Samba" are quite typical, but "O Pato" (The Duck) has a component added on from Duke Ellington's "Take the 'A' Train," while the Hawkins original "Stumpy" is adapted into "Stumpy Bossa Nova," derived from Dizzy Gillespie's "Groovin' High" with a taste of "The Man I Love" tacked on at the end. Albam's "Samba Para Bean" is standardized cool with Locke's accents via brushes on closed hi-hat cymbals, while "I Remember You" is a completely unforced, pretty rendition of this well-worn standard. Gilberto's tribute to Luiz Bonfá, "Um Abraco No Bonfa," sports a guitar lead by Galbraith in a stretched-out frame. The curve ball is a somewhat weird crossbred samba take of "I'm Looking Over a Four Leaf Clover," a truly corny song the band tried to make cool, only marginally succeeding. The simplified style of this album overall perfectly suited the amiable, good-natured, and laid-back Hawkins at a time when the world was somewhat in political turmoil regarding Caribbean nations and the role of South America in the emerging so-called Third World. He passed away seven years later, leaving a legacy as the most revered tenor saxophonist in jazz, and this very nice recording in his long discography, unique even unto itself. ---Michael G. Nastos, Rovi

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Coleman Hawkins - In A Mellow Tone (1960)

2013-02-26T17:17:34Z

Coleman Hawkins - In A Mellow Tone (1960)


1 You Blew Out The Flame In My Heart 	5:56 	
2 I Want To Be Loved 	5:34 	
3 In A Mellow Tone 	6:45 	
4 Greensleeves 	3:13 	
5 Through For The Night 	5:12 	
6 Until The Real Thing Comes Along 	4:42 	
7 The Sweetest Sounds 	4:18 	
8 Then I'll Be Tired Of You 	5:09 	
9 Jammin' In Swingville 	9:31 	

Personnel: 
Coleman Hawkins (tenor saxophone); 
Hilton Jefferson (alto saxophone); 
Eddie "Lockjaw" Davis (tenor saxophone); 
Joe Thomas, Joe Newman, Charlie Shavers (trumpet); 
Vic Dickenson, J.C. Higginbotham (trombone); 
Jimmy Hamilton (clarinet); 
Tommy Flanagan, Red Garland, Claude Hopkins, Ray Bryant (piano); 
Kenny Burrell, Tiny Grimes (guitar); 
Doug Watkins, Wendell Marshall, Major Holley, George Duvivier (bass); 
Osie Johnson, Charles Wright, Eddie Locke, Bill English, Gus Johnson (drums).

Many critics dislike greatest hit packages, perhaps because they believe these compilations destroy the musical integrity of the artist's initial release. If intelligently done, I find greatest hits as a wonderful way to sample an artist's work. If you like what you hear on the compilation, you can then buy the original source material. With so many good musical recordings competing for our discretionary dollars, its a good way to make an educated purchase.

In A Mellow Tone is one "best of" compilation worth looking into. Coleman Hawkins, the great tenor saxophonist, was an important jazz innovator who transformed the saxophone from a big-band, rhythmic instrument to a potent soloing force. He recorded for Prestige during the years 1958 to 1962, and Original Jazz Classics has chosen nine songs from eight of his albums. All the selections are exciting and absorbing as Hawkins, playing with a veritable "who's who" of fifties and sixties jazz, burns with passion and imagination.

Hawkins had been playing and recording professionally for thirty years when most of these albums were made. Playing with a total command of his instrument, he generated one tasteful solo after another, as his musical ideas constantly commanded the listener's attention. Hawkins coaxed a heavy sound from his tenor, and when playing ballads, his music is near irresistible. His version of the traditional song "Greensleeves" is definitive!

If you are not familiar with the music of Hawkins, a true giant of jazz, or if you own only one or two of his Prestige recordings from the late fifties/early sixties, then I highly recommend you purchase In A Mellow Tone. The only thing mellow about this recording is the title. Hawkins music will reward close and careful study. --- Ron Saranich, cosmik.com

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Coleman Hawkins - The Hawk Relaxes (1961)

2016-07-01T15:50:45Z

Coleman Hawkins - The Hawk Relaxes (1961)


1 	I'll Never Be The Same 	6:08
2 	When Day Is Done 	4:24
3 	Under A Blanket Of Blue 	4:35
4 	More Than You Know 	4:09
5 	Moonglow 	5:58
6 	Just A Gigolo 	5:04
7 	Speak Low 	6:39

Coleman Hawkins - Sax (Tenor)
Ronnell Bright – Piano
Kenny Burrell – Guitar
Ron Carter – Bass
Andrew Cyrille – Drums

It is said that one grows wiser and mellower with age, as proven by this recording from Coleman Hawkins that is a successful follow-up to his previous Moodsville album At Ease. There is a difference, as Kenny Burrell joins the legendary tenor saxophonist in this quintet setting, with no threat of upstaging or even a hint of any real showcasing of the guitarist's then developing laid-back side. Underrated Ronnell Bright is on the piano, and also proves a veritable equal to Hawkins even more than Burrell. But it is the burgeoning talent of bassist Ron Carter and drummer Andrew Cyrille who mark their territory, not as the maverick individualists they would become, but as supple performers who understand the strength of Hawkins from a modest standpoint. Not all ballads, the fare is standard American popular song played for people sitting by the fire, the calm ocean, or late at night with a sweetheart over candles and wine. Any version of a well-known tune can be made classic by Hawkins, as heard during the somber "I'll Never Be The Same," the straight ballad "Under a Blanket of Blue" with the tenor's slight fluttery trills, or "Just a Gigolo" where the spotlight is firmly focused on the leader's droll tones. Burrell's strumming on "When Day Is Done" signifies a downplayed, wound down feeling, and where he generally chooses a sublimated role in these recordings, he does come out with a strong lead melody for the soulful ballad "More Than You Know." The modified tunes on the session are the midtempo take of "Moonglow" as Hawkins adopts some of Lester Young's swagger as Cyrille's nimble brushwork keeps the song moving forward. "Speak Low" is interpreted in a sleek and seductive calypso beat ably conjured by the drummer, a nice touch to end the album. This quintet -- as unique as any Hawkins ever fronted -- speaks to his open mindedness, but more so to his innate ability in adapting musicians to his situational hitting. The Hawk Relaxes is one of his best latter period efforts. ---Michael G. Nastos, Rovi

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Coleman Hawkins and Lester Young (2000)

2010-04-03T21:44:49Z

Coleman Hawkins and Lester Young (2000)


01 - Coleman Hawkins - Hello Lola - 1929
02 - Coleman Hawkins - One hour - 1929
03 - Coleman Hawkins - Jamaica shout - 1933
04 - Coleman Hawkins - Star dust - 1935
05 - Coleman Hawkins - Out of nowhere - 1937
06 - Coleman Hawkins - She's funny that way - 1939
07 - Coleman Hawkins - Body And Soul [1939]
08 - Coleman Hawkins - My ideal - 1943
09 - Coleman Hawkins - The man i love - 1943
10 - Coleman Hawkins - Yesterdays - 1944
11 - Coleman Hawkins - Rainbow mist - 1944
12 - Lester Young - Them there eyes - 1938
13 - Lester Young - Lester leaps in - 1939
14 - Lester Young - Just you, just me - 1943
15 - Lester Young - Afternoon of a Basie-ite - 1943
16 - Lester Young - Sometimes i'm happy - 1943
17 - Lester Young - I can't get started - 1942
18 - Lester Young - Blue Lester - 1944
19 - Lester Young - Ghost of a chance - 1944
20 - Lester Young - D.B. blues - 1945
21 - Lester Young - Lester blows again - 1945
22 - Lester Young - These foolish things - 1945
23 - Lester Young - I cover the waterfront - 1946

By the end of the swing era, Coleman Hawkins and Lester Young exemplified the two main approaches to playing tenor sax. Throughout his career, the soft-spoken and distinguished Coleman Hawkins always took pride in his ability to be modern and open to newer ideas. He had emerged in 1921 with Mamie Smith’s Jazz Hounds and joined Fletcher Henderson’s orchestra in 1923 as the first tenor saxophone jazz soloist, but although technically skilled, his style was rhythmically awkward. After playing next to Louis Armstrong on a nightly basis, he smoothed out his style, discarded his reliance on effects, and learned to create meaningful improvisations. A master at chordal improvising, Hawkins was never bothered by later developments; he was usually ahead of the game. While with Henderson from 1923 to 1934, he easily dominated other tenor players with his large, thick tone. Frustrated by the Henderson band’s lack of progress compared to that of Duke Ellington, he left the orchestra after eleven years to spend five years in Europe, playing with local orchestras on the Continent and in England.

With Hawkins gone, other tenor players, most notably Lester Young, Ben Webster, and Chu Berry, emerged as rivals. When he returned in 1939 and played in jam sessions, Hawkins showed that he was still the king of tenors, and that he had not stood still while overseas. That year, apparently as a last minute throwaway at a record date, he recorded a famous version of “Body and Soul” that has two choruses in which he barely hints at the melody, creating new ideas of his own.

In 1940 Hawkins led a big band, but it never caught on and soon broke up. Instead, he led a series of combos that often performed at Fifty-second Street. Between 1943 and 1946 he recorded one gem after another, including a classic version of “The Man I Love” and sets in which he welcomed such younger bebop musicians as drummer Max Roach, trombonist J. J. Johnson, trumpeters Dizzy Gillespie, Fats Navarro, and Miles Davis, and pianist Thelonious Monk, who made his recording debut with Hawkins. Although most tenors now had a lighter sound than Hawkins, harmonically he was keeping up with the next generation. With his rhythms considered old-fashioned, he was a bit overlooked during the first half of the 1950s but was an early influence on the young tenor Sonny Rollins. By 1957 his longevity and consistent greatness was being recognized, and Hawkins recorded everything from Dixieland and swing to bop, and a date led by his former pianist Monk that found him holding his own alongside John Coltrane. Hawkins continued to be a major force until 1966 when bad health caused his rapid decline and death three years later.

Lester Young was always an individualist, a quiet revolutionary who blazed his own musical path. As a child he played trumpet, violin, drums, and alto with his father in the Young Family Band. Lester settled on alto but switched to tenor when he worked with Art Bronson’s Bostonians in 1928 and 1929. After playing with the Original Blue Devils in 1932and 1933, Count Basie in 1934, Bennie Moten, and King Oliver, he got his big break as Coleman Hawkins’ replacement with Fletcher Henderson’s orchestra. His radical style was too different to suit the Henderson sidemen, and he was reluctantly let go after three months. Young sounded like he was playing a new instrument altogether. His tone was very light, he floated over bar lines, and he always sounded relaxed, even when the tempos were fast. He was the epitome of “cool.”

After Young rejoined the Count Basie band in 1936, he was a major part of their success during the next four years, traveling to New York and being its top soloist. On the very first record date in late 1936, Young emerged fully formed, taking a perfect solo on “Lady Be Good.” He recorded frequently with Basie, and starting in 1937 often with Billie Holiday, a close friend. He named her “Lady Day” and she called him “Pres.”

For some reason, maybe because he did not want to record on Friday the thirteenth, Lester Young left the Basie band in December 1940. The next two years were largely uneventful; he made relatively few recordings, and his own band did not catch on. In October 1943 he rejoined Basie, and although the recording strike kept the full orchestra off records, Young made some classic small-group records and appeared in the Academy Award-winning short film Jammin’ the Blues .

In the summer of 1944, Young was drafted. The military was the wrong place for the introverted and sensitive saxophonist, and he experienced a horrible year, including time in a military prison. Young was unsuited for military life and the institutional racism of the period. The experience left him emotionally scarred and depressed. After his discharge, Young at first played at his peak. He led combos during the next decade, toured with Jazz at the Philharmonic, and was well paid. He was greatly respected by the younger musicians; many copied his sound and approach. But his drinking increased and his state of mind gradually deteriorated during the 1950s. By then he had invented a language of his own, full of eccentric slang that was only understood by his closest friends, shielding himself as best he could from the world. Although he rallied on several occasions and often played quite well, Lester Young eventually drank himself to death, passing away in 1959 at the age of forty-nine. ---encyclopedia.jrank.org

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Coleman Hawkins Encounters Ben Webster (1957)

2011-06-20T18:31:18Z

Coleman Hawkins Encounters Ben Webster (1957)


1. Blues For Yolande	6:44
2. Maria
3. It Never Entered My Mind	5:46
4. Prisoner Of Love	4:12		play
5. Tangerine	5:20
6. La Rosita	5:02
7. Coctail For Two			play
8. Shine On Harvest Moon	4:48
9. You'd Be So Nice To Come Home To	4:15

Musicians:
Coleman Hawkins (tenor saxophone); 
Herb Ellis (guitar); 
Ben Webster (tenor saxophone); 
Oscar Peterson (piano); 
Ray Brown  (bass);
Alvin Stoller (drums).

Coleman Hawkins and Ben Webster first met at a Kansas City jam session at which Hawkins finally encountered his match in local tenors Webster, Herschel Evans, and Lester Young. The all-night meeting has become the stuff of legend (and a continuous thread in Robert Altman's film Kansas City, though there it's reduced to two tenors). Recorded by Norman Granz, this 1957 meeting supports the two with fine accompaniment that includes Oscar Peterson, Ray Brown, and Herb Ellis. The material includes the great "Blues for Yolanda," with a honking, squeaking solo that suggests Hawkins is the father of all R&B tenor saxophonists as well as those in jazz, while "Rosalita" has an engaging Latin beat. There's also plenty of room for the two to display their ballad art, but there's no real competition between the two big-toned, gruff tenorists, each a mature artist enjoying the highest challenge a peer might offer. ---Stuart Broomer

Some might say (including historians, musical producers and liner notes writers) that Hawkins was much better than Webster, that only Young could equall his power with his unique approach. Even if this is true, the level at which Hawk and Webster play is so high that I see the meeting of two true giants. Impecable rhythm section led by great Oscar Peterson always helps at these Verve style encounters and I feel that both tenor plays made the best of it. Whether it is gentle ballads, blowing the blues or harmonizing in rhythm, this CD should satisfy not only swing and mainstream fans but also modern jazz fans: mainstream by definition leans somewhat towards modern jazz and Hawk and Peterson particularly well blend the best of both worlds (as they did throught their careers; Hawkins even before modern jazz was born).A classic. --- Nikica Gilic

This 1957 session brings together two of the most important tenor saxophonists in jazz history. Coleman Hawkins is known as the father of the jazz sax, while Webster may be its greatest balladeer. COLEMAN HAWKINS ENCOUNTERS BEN WEBSTER highlights the talents of both tenor men nicely, with Hawkins and Webster consistently complementing each other's playing. In fact, they develop a kind of conversational interplay that is quite beautiful, particularly on the gentle "It Never Entered My Mind" and the slowly swinging "Shine on Harvest Moon." Although the rest of the band consists of stellar musicians (including pianist Oscar Peterson and guitarist Herb Ellis), they concede the spotlight to Hawkins and Webster, whose dual saxophones more than carry the record. Other standout tracks include the sultry ballad "Tangerine" and the Latin-flavored "La Rosita." --- Nat Hentoff

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Coleman Hawkins with Lester Young - The Famous JATP Performances (1946-1947)

2012-10-16T16:39:24Z

Coleman Hawkins with Lester Young - The Famous JATP Performances (1946-1947)


01 - I Surrender Dear
02 - I've Found a New Baby
03 - Philharmonic Blues (Carnegie Blues)
04 - Oh, Lady Be Good!
05 - I Can't Get Started
06 - Sweet Georgia Brown
07 - Slow Drag
08 - How High the Moon

Personnel & tracks:
tr. 1-2 - Coleman Hawkins, Lester Young (tenor saxophone); Willie Smith (alto saxophone); Buck Clayton (trumpet);
Kenny Kersey (piano); Irving Ashby (guitar); Billy Hadnott (bass); Buddy Rich (drums)
Recorded Embassy Theatre, LA, April 22, 1946

tr. 3-6 - Coleman Hawkins, Lester Young (tenor saxophone); Illinois Jacquet (tenor saxophone); Buck Clayton (trumpet);
Kenny Kersey (piano); Al McKibbon (bass); J.C. Heard (drums)
Recorded Carnegie Hall, NY, May 27, 1946

tr. 7 - Same personnel except. Curly Russell (bass) replace
Al McKibbon
Same concert

tr.8 - Coleman Hawkins (tenor saxophone); Buck Clayton (trumpet); Trummy Young (trombone); Willie Smith (alto saxophone);
 Flip Phillips (tenor saxophone); Kenny Kersey (piano); Benny Fonville (bass); Buddy Rich (drums)
Recorded Syria Mosque, Pittsburg, March, 5, 1947

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Coleman Hawkins – Hollywood Stampede (1947)

2010-07-31T21:15:18Z

Coleman Hawkins – Hollywood Stampede (1947)

Side 1:
01) April In Paris
02) Rifftide
03) Stardust
04) Stuffy
05) Hollywood Stampede
06) I'm Through With Love

Side 2:
01) What Is There To Say
02) Wrap Your Troubles In Dreams
03) Too Much Of A Good Thing
04) Bean Soup
05) Someone To Watch Over Me
06) It's The Talk Of The Town

# 1-4: Coleman Hawkins-(tenor sax); Howard McGhee-(trumpet); Sir Charles Thompson-(piano); Allan Reuss-(guitar); Oscar Pettiford-(bass); Denzil Best-(drums).
Los Angeles,February 23,1945

# 5-8: Same As Above,Except Vic Dickenson-(trombone) Is Added
Los Angeles,March 2,1945

# 9-12: Same As # 1-4,Except John Simmons Replaces Pettiford
Los Angles,March 9,1945

# 13-16: Coleman Hawkins-(tenor sax); Miles Davis-(trumpet); Kai Winding-(trombone); Howard Johnson-(alto sax); Hank Jones-(piano); Curly Russell-(bass); Max Roach-(drums).
New York,June,1947

Hawkins led one of his finest bands in 1945, a sextet with the fiery trumpeter Howard McGhee that fell somewhere between small-group swing and bebop. This CD contains all of that group's 12 recordings, including memorable versions of "Rifftide" and "Stuffy"; trombonist Vic Dickenson guests on four tracks. This CD concludes with one of Hawkins' rarest sessions, an Aladdin date from 1947 that finds the veteran tenor leading a septet that includes 20-year-old trumpeter Miles Davis. ---Scott Yanow

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Coleman Hawkins – Jazz Masters 34 (1994)

2012-10-13T18:21:12Z

Coleman Hawkins – Jazz Masters 34 (1994)


1 Body And Soul 		
2 The Big Head 		
3 Time On My Hands 		
4 Rifftide 		
5 Bean And The Boys 		
6 Cocktails For Two 		
7 Hanid 		
8 Just One Of Those Things 		
9 I Only Have Eyes For You 		
10 Hallelujah 		
11 Night And Day 		
12 'S Wonderful 		
13 I'll Wind 		
14 The World Is Waiting For The Sunrise 		
15 I Wished On The Moon 		
16 Picasso

Personnel: 
Coleman Hawkins, Ben Webster (tenor saxophone); 
Cecil Payne (baritone saxophone); 
Roy Edridge (trumpet); 
John Lewis, Hank Jones, Al Haig, Tommy Flanagan, Teddy Wilson, Oscar Peterson (piano); 
John Collins, Herb Ellis (guitar);
Ray Brown, Nelson Boyd, Percy Heath, Major Holley, George Duvivier,
 John Kirby, Billy Taylor, Israel Crosby (bass); 
Buddy Rich, Shadow Wilson, Connie Kay, Eddie Locke, Alvin Stoller, 
Mickey Sheen, Sid Catlett, Cozy Cole (drums).

The always excellent Verve Jazz Masters series offers another winner here. Over an hour of varied material from the 40's thru the 60's. Highlights includes: another rendition of the famed "Body and Soul" solo, a gorgeious duet (duel?) with Ben Webster, an AWSOME unaccompanied solo "Picasso" (alone worth the price of admission), a heart-rending "Night and Day", and a total of 62 minutes of the mother of all (tenor) sax players. Makes a nice compliment to "Retrospective". The sound quality is very good, so if you can't abide the marginal fidelity of old 30's and 40's recordings (before tape was used in the studio), this is the Coleman Hawkins collection for you. --- Johnny Hodges

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