Tenor saxophonist Coleman "The Hawk" Hawkins (1904- 1969) was one of the most important instrumental soloists in jazz. The "father of the saxophone" conquered this previously unpopular instrument for jazz and influenced generations after him. He also possessed a strong personality, enormous presence and a pronounced musical adventurousness, so that he always remained stylistically on the cutting edge until the sixties…
Coleman Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser whose knowledge of chords and harmonies was encyclopedic, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor…
Recorded originally for the Prestige subsidiary Moodsville, Coleman Hawkins (along with the Tommy Flanagan Trio) sticks exclusively to ballads and slower pieces, all played at a low flame. Although it is nice to hear the veteran tenor interpreting "Poor Butterfly" and "I'll Get By," this CD is more successful as pleasant background music than as creative jazz.
Although he adapted better than most swing-era musicians to the bop revolution that swept through jazz in the late '40s, Coleman Hawkins was still viewed by the record labels as a swing artist, and he recorded infrequently in the early '50s. His tough, romantic tenor saxophone sound was considered by many to be dated, although most bop tenor players knew better, and his stature rebounded as the decade wore on. This collection opens with three marvelous tracks recorded at Carnegie Hall during a Jazz at the Philharmonic concert, but the balance of the set (save for the lovely "And So to Sleep Again" and the striking "If I Could Be With You") feels like Hawkins in limbo, playing what is essentially incidental mood music…
On this record (one incidentally that Hawkins, who is his own harshest critic, ranks among his best) we have a group of musicians who complement the master quite successfully. On trumpet is Emmett Berry, a Fletcher Henderson and Count Basie alumnus who has played and recorded with just about anybody you can think of. The trombonist is young Eddie Bert who was a member of such major bands as those of Charlie Barnet, Woody Herman, Benny Goodman, Stan Kenton and Red Norvo. On piano, Billy Taylor, a student of a great Art Tatum and a 52nd Street cohort of Hawkins. Tatum, generally acknowledged to be the supreme wizard of the keyboard, has called Taylor "the best young pianist in the country"…
This set documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington's music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. Although it would have been preferable to hear the great tenor performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance on cornet and violin, trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant "The Jeep Is Jumpin'," an interesting remake of "Mood Indigo," and a few new Ellington pieces. This delightful music is recommended in one form or another.
Coleman Hawkins' 1957 session for Riverside, aside from an oral documentary record in a short-lived series, was his only recording for the label under his name. Yet producer Orrin Keepnews had the good sense to invite the legendary tenor saxophonist to pick his own musicians, and Hawkins surprised him by asking for young boppers J.J. Johnson and Idrees Sulieman in addition to the potent rhythm section of Hank Jones, Oscar Pettiford, Barry Galbraith, and Jo Jones. The two days of sessions produced a number of strong performances, with Hawkins still very much at the top of his game, while both Johnson and Sulieman catch fire as well. Even though most of the focus was on new material contributed by the participants, the musicians quickly adapted to the unfamiliar music…