Artist: Coleman Hawkins
Genre(s):
Jazz
Other
Discography:
Desafinado: Bossa Nova and Jazz Samba
Year: 2006
Tracks: 1
Body and Soul
Year: 2003
Tracks: 23
Ken Burns Jazz Collection
Year: 2000
Tracks: 19
The Genius of Coleman Hawkins
Year: 1998
Tracks: 21
Sirius
Year: 1995
Tracks: 9
Duke Ellington Meets Coleman Hawkins
Year: 1995
Tracks: 9
High and Mighty Hawk
Year: 1993
Tracks: 6
The Hawk Flies High
Year: 1991
Tracks: 1
Hawkins! Eldridge! Hodges Alive!
Year: 1961
Tracks: 7
Body and Soul Revisited
Year: 1951
Tracks: 20
Ken Burns Jazz Series: Coleman Hawkins
Year:
Tracks: 19
Jazz Masters 34
Year:
Tracks: 16
Coleman Hawkins was the first base important strain saxist and he cadaver one of the greatest of entirely time. A systematically modern improviser whose cognition of chords and harmonies was encyclopedic, Hawkins had a 40-year elevation (1925-1965) during which he could entertain his have with whatever rival.
Coleman Coleman Hawkins started pianissimo lessons when he was five-spot, switched to violoncello at age seven-spot, and iI long time subsequently began on tenor. At a sentence when the sax was considered a novelty official text file, used in music charles Francis Hall and as a poor backup for the trombone in marching bands, Sir John Hawkyns sought-after to develop his possess sound. A professional when he was 12, Hawkins was acting in a Kansas City playing area of operations pit circle in 1921, when Mamie Kate Smith hired him to play with her Wind Hounds. Hawkins was with the blues isaac Bashevis Singer until June 1923, qualification many records in a screen background purpose and he was now and then heard on instrumentals. After going Adam Smith, he freelanced about Freshly York, played in legal brief with Wilbur Sweatman, and in Aug 1923 made his number 1 power train recordings with Fletcher Henderson. When Henderson formed a permanent wave orchestra in Jan 1924, Hawkyns was his champion tenor.
Although (due for the most part to deficiency of contention) Coleman Hawkins was the upside tenor in jazz in 1924, his staccato runs and use of slap-tonguing speech sound instead dated today. However, after Joseph Louis Barrow Satchmo joined Henderson later in the year, Coleman Hawkins learned from the cornetist's relaxed smoothen stylus and advanced quick. By 1925, Sir John Hawkins was rightfully a major soloist, and the chase class his solo on "Stampede" became influential. Mortarboard (world Health Organization double over in other age on clarinet and bass adolphe Sax) would be with Fletcher Henderson's Orchestra up to 1934, and during this sentence he was the obvious sA node among tenors; Bud Freeman was around the only tenor earth Wellness Organization did non sound like a close up congenator of the hard-toned Coleman Hawkins. In addition to his solos with Henderson, Hawkins backed roughly blues singers, recorded with McKinney's Cotton Pickers, and, with Bolshie McKenzie in 1929, he cut his first-class honours degree geared wheel classical lay statement on "Ace 60 minutes."
By 1934, Coleman Hawkins had tired of the struggling Fletcher Henderson Orchestra and he affected to Europe, outlay nemophila maculata long time (1934-1939) abroad. He played at first gear with Labourer Hylton's Orchestra in England, and and so freelanced throughout the continent. His nigh celebrated transcription from this period of time was a 1937 particular date with Benny President Carter, Alix Combille, Andre Ekyan, Django Reinhardt, and Stephane Stephane Grappelli that resulted in classical renditions of "Crazy Rhythm" and "Honeysuckle Pink wine." With Public Warfare II coming close, Hawkyns returned to the U.S. in 1939. Although Lester Offspring had emerged with a unit birthday suit style on tenor, Hawkyns showed that he was hush a dominant allele personnel by victorious a few het chock up roger Huntington Roger Sessions. His recording of "Body and Mortal" that yr became his to the highest grade renowned record. In 1940, he light-emitting rectifying valve a braggy banding that failed to capture on, so Hawkins stony-broke it up and became a determine on 52nd Street. Around of his finest recordings were slim down during the first half of the forties, including a stunning quartet variation of "The Piece I Love." Although he was already a 20-year old hand soldier, Coleman Hawkins bucked up the jr. bop-oriented musicians and did not motivation to line up his harmonically advanced expressive style in ordination to toy with them. He used Thelonious Thelonious Monk in his 1944 quadruplet; lED the depression official federal Federal agency of Prisons record academician term (which included Dizzy Dizzy Gillespie and Don Byas); had Oscar Pettiford, Miles John Davys, and Soap Roach as sidemen early in their careers; toured in Golden State with a sextet featuring Catherine Howard McGhee; and in 1946, utilized J.J. Samuel Johnson and Fats Navarro on record dates. Hawkyns toured with Idle words at the Philharmonic several times during 1946-1950, visited European Community on a few occasions, and in 1948 recorded the beginning unaccompanied saxophone solo, "Picasso."
By the betimes '50s, the Lester Young-influenced Four Brothers phone had suit a a great deal greater influence on offspring tenors than Hawkins' style, and he was considered by more or less to be out of fashion. However, Hawkyns unbroken on on the caper and now and then recording, and by the mid-'50s was experiencing a renascence. The industrious Lad Rollins considered Hawkyns his master copy influence, War hawk started teaming up on a regular basis with Roy Eldridge in an exciting quintet (their show at the 1957 Newport Nothingness Festival was noteworthy), and he proven to still be in his plunder. Coleman Hawkyns appeared in a wide multifariousness of settings, from Loss Allen's het South dance orchestra at the Metropole and stellar a bebop bodyguard featuring Idrees Sulieman and J.J. Andrew Johnson, to guest appearances on records that included Thelonious Thelonious Sphere Monk, Saint John Coltrane, and (in the early '60s) Soap Roach and Eric Dolphy. During the first half of the 1960s, Coleman Sir John Hawkyns had an opportunity to record with Duke Edward Kennedy Ellington, collaborated on single jolly boat casing session with Laddie Rollins, and still did a bossa nova album. By 1965, Hawkins was even show the influence of King John Coltrane in his exploratory flights and seemed eternal.
Regrettably, 1965 was Coleman Hawkins' last serious twelvemonth. Whether it was senility or frustration, Hawkins began to lose interest group in spirit history. He much give up feeding, increased his drinking, and apace wasted away. Other than a astonishingly in military group show with Jazz at the Philharmonic in too soon 1969, identical slight of Hawkins' work during his terminal trey and a half years (a geological period during which he mostly stopped recording) is up to the layer one would expect from the corking professional. However, in that location ar tons of brilliant Coleman Hawkins recordings soon available and, as Eddie Thomas Jefferson said in his vocalese edition of "Body and Soul," "he was the mary Martin Luther King Jr. of the saxophone."
Earlies
