Artist Lounge: Coleman Hawkins
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With all of the jazz albums out there that have titles like "Such-and-such Meets Such-and-such" — "The Count Meets the Duke", "Lionel Meets the Duke", "Louis Armstrong Meets Oscar Peterson", "Duke Ellington Meets Coleman Hawkins", etc., etc. — I'd like to see something a bit out of the norm, something like "Duke Ellington Meets Dwight D. Eisenhower". There would be the famous photo of Ike, befuddled and empty-handed, standing in the middle of the exquisite maelstrom of Duk... MORE
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An unreleased recording from a “Jazz At The Philharmonic” concert of September 18, 1949 features a one chorus version of one of the most immortal of all of Coleman Hawkins’ recordings: Body And Soul.” The song itself was written in 1930 with words by Edward Heyman, Robert Sour, Frank Eyton with music by Johnny Green. Heard on this concert recording are Ray Brown on bass and Buddy Rich on drums.
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Another Coleman Hawkins opus is “Stuffy,” a tour de force for Hawkins’ gruff style with plenty of his highly imaginative ideas. The crowd at Carnegie Hall shouts encouragements to Hawkins on this “Jazz At The Philharmonic” set of September 16, 1950.
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A different side of “The Hawk” is his “Hawk’s Tune” where Coleman Hawkins displays his biting tone along with the crisp piano artistry of Hank Jones.
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Coleman Hawkins was the one person who clearly defined just how a tenor sax man should play his instrument. Before “The Hawk” (as he became known), most tenor sax players used the heavily accented slap-tongue technique which limited the instrument’s tone and range of expression. Hawkins broadened the tone, adapted a greater legato line and started using the same fluency that trumpeters such as Louis Armstrong were using, thus creating his own legacy in jazz history. We hea... MORE
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In the wee morning hours of October 11, 1939, Coleman Hawkins and his orchestra wrapped up a gig at Kelly's Stable on 52nd street. A scant 6 hours later, the orchestra, a smallish, nine-piece band by the prevailing standards of the swing era, straggled into the recording studio at Victor records. After Hawkins' years of playing as a soloist in a variety of venues and settings in Europe, this recording was supposed to mark Hawkins' triumphal return to the American music s... MORE
