Coleman Hawkins Reviews

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Coleman Hawkins - 7 Classic Albums (4Cd)

Review VOLUME ONE : 4CD set. Collects seven original albums, including "The Hawk In Hi-Fi", "The Hawk Flies High", "Coleman Hawkins Encounters Ben Webster", "The Genius Of Coleman Hawkins", "Bean Bags", "Soul" and "Hawk Eyes".
Young, Lester - 7 Classic Albums

Review let some jazz spice up your night
Coleman Hawkins - Seven Classic Albums Vol 2

Review An enormous presence in jazz across five decades, Coleman Hawkins provided huge influence for generations of jazz saxophonists who were inspired to pick up their instrument of choice following exposure to Hawkins work. Having begun his career participating in late night Harlem jam sessions, Hawkins quickly rose to fame following his recording of Body And Soul on 11th October 1939 - a tune considered by many to be among the finest jazz numbers ever. From then on, his relentless recording and touring schedules along with the pure quality of his work made him a central figure on the international jazz stage, a reputation he maintained for the rest of his life and beyond. Although by 1960 Hawkins had been in the business for nearly four decades, his contributions to some of the most important albums in modern jazz continued. His playing featured on the song Driva Man on Max Roach s legendary We Insist! (Candid, 1960) - a bold composition in support of the Civil Rights Movement and he performed too on vocalist Abbey Lincoln s Straight Ahead (Candid, 1961), on which he appeared alongside Roach, Eric Dolphy, Mal Waldron and Booker Little. Hawkins made many more notable appearances alongside other important names during the early 1960s, including Duke Ellington, Bud Powell, Oscar Pettiford, Kenny Clarke, Nate Adderley, Howard McGhee and Lester Young. However, it would be on the albums featuring Hawkins as leader on which the sax man s star shone brightest. Always keen to promote new talent , 1960 s Coleman Hawkins And His Orchestra (Crown) and Coleman Hawkins All Stars (Swingville) brought together a pool of young players, including drummer Osie Johnson, trumpeter Thad Jones and pianists Tommy Flanagan and Eddie Costa - although the latter was tragically killed in a car accident two years later. The following year would see the release of two of Hawkins most highly-regarded late period albums: Night Hawk (Swingville, 1961) - which featured a pairing with fellow tenor saxophonist Eddie Lockjaw Davis - and The Hawk Relaxes (Moodsville, 1961), which boasted appearances from pianist Ronnie Bright, Kenny Burrell on guitar, Ron Carter on bass and drummer Andrew Cyrille. Hawkins would also pay tribute to many of the popular standards that had formed the foundation of his career on Good Old Broadway and Make Someone Happy (both Moodsville, 1962). Sadly, by this point, Hawkins was drinking heavily and his recording output has begun to wane, although he still had time to appear alongside Sonny Rollins on Sonny Meets Hawk! (RCA Victor, 1963), and with an impressiveline-up of jazz legends on The Greatest Jazz Concert In The World (Pablo, 1975 - recorded 1967), including Oscar Peterson, Clark Terry, Benny Carter, Zoot Sims, Duke Ellington, Ella Fitzgerald and T-Bone Walker. Old age and failing health finally caught up with the Hawk, however, and following a battle with liver disease he passed away aged 64 on 19th May 1969. This four disc set commemorates the last great period of Coleman Hawkins career. Containing over four hours of music from eight complete albums, originally released across the period 1960 to 1962, this collection is a fitting testament to a hugely accomplished musician who was arguably the greatest tenor saxophonist of the entire jazz spectrum.
Complete Recordings: 1952-1959 (4CD Box Set)

Review HAWKINS COLEMAN NIGHT HAWK
12 Classic Albums: 1947-1962

Review What happens when jazz saxophonist Coleman Hawkins encounters another great sox player Ben Webster? Find out with this classic album repressed on 180 gram vinyl.
12 Classic Albums: 1956-1962 [6CD]

Review ELLINGTON DUKE MEET COLEMAN HAWKINS
12 Classic Albums: 1953-1962 (6CDs)

Review Hawkins adds a laid back interpetation to these allready mellow ballads to achieve the "relaxed" sound of this record.
8 Classic Albums - Duke Ellington

Review Book by
13 Classic Albums: 1954-1960

Review 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
The Pacific Jazz Collection (4CD BOX SET)

Review VOLUME ONE : 4CD set. Collects seven original albums, including "The Hawk In Hi-Fi", "The Hawk Flies High", "Coleman Hawkins Encounters Ben Webster", "The Genius Of Coleman Hawkins", "Bean Bags", "Soul" and "Hawk Eyes".
Complete Albums Collection: 1960-1962 (4CD BOX SET)

Review let some jazz spice up your night
Body & Soul

Review An enormous presence in jazz across five decades, Coleman Hawkins provided huge influence for generations of jazz saxophonists who were inspired to pick up their instrument of choice following exposure to Hawkins work. Having begun his career participating in late night Harlem jam sessions, Hawkins quickly rose to fame following his recording of Body And Soul on 11th October 1939 - a tune considered by many to be among the finest jazz numbers ever. From then on, his relentless recording and touring schedules along with the pure quality of his work made him a central figure on the international jazz stage, a reputation he maintained for the rest of his life and beyond. Although by 1960 Hawkins had been in the business for nearly four decades, his contributions to some of the most important albums in modern jazz continued. His playing featured on the song Driva Man on Max Roach s legendary We Insist! (Candid, 1960) - a bold composition in support of the Civil Rights Movement and he performed too on vocalist Abbey Lincoln s Straight Ahead (Candid, 1961), on which he appeared alongside Roach, Eric Dolphy, Mal Waldron and Booker Little. Hawkins made many more notable appearances alongside other important names during the early 1960s, including Duke Ellington, Bud Powell, Oscar Pettiford, Kenny Clarke, Nate Adderley, Howard McGhee and Lester Young. However, it would be on the albums featuring Hawkins as leader on which the sax man s star shone brightest. Always keen to promote new talent , 1960 s Coleman Hawkins And His Orchestra (Crown) and Coleman Hawkins All Stars (Swingville) brought together a pool of young players, including drummer Osie Johnson, trumpeter Thad Jones and pianists Tommy Flanagan and Eddie Costa - although the latter was tragically killed in a car accident two years later. The following year would see the release of two of Hawkins most highly-regarded late period albums: Night Hawk (Swingville, 1961) - which featured a pairing with fellow tenor saxophonist Eddie Lockjaw Davis - and The Hawk Relaxes (Moodsville, 1961), which boasted appearances from pianist Ronnie Bright, Kenny Burrell on guitar, Ron Carter on bass and drummer Andrew Cyrille. Hawkins would also pay tribute to many of the popular standards that had formed the foundation of his career on Good Old Broadway and Make Someone Happy (both Moodsville, 1962). Sadly, by this point, Hawkins was drinking heavily and his recording output has begun to wane, although he still had time to appear alongside Sonny Rollins on Sonny Meets Hawk! (RCA Victor, 1963), and with an impressiveline-up of jazz legends on The Greatest Jazz Concert In The World (Pablo, 1975 - recorded 1967), including Oscar Peterson, Clark Terry, Benny Carter, Zoot Sims, Duke Ellington, Ella Fitzgerald and T-Bone Walker. Old age and failing health finally caught up with the Hawk, however, and following a battle with liver disease he passed away aged 64 on 19th May 1969. This four disc set commemorates the last great period of Coleman Hawkins career. Containing over four hours of music from eight complete albums, originally released across the period 1960 to 1962, this collection is a fitting testament to a hugely accomplished musician who was arguably the greatest tenor saxophonist of the entire jazz spectrum.
A Musical Romance

Review HAWKINS COLEMAN NIGHT HAWK
Coleman Hawkins Encounters Ben Webster

Review What happens when jazz saxophonist Coleman Hawkins encounters another great sox player Ben Webster? Find out with this classic album repressed on 180 gram vinyl.
Saxophone Colossus [Reissue]

Review ELLINGTON DUKE MEET COLEMAN HAWKINS
Coleman Hawkins - 7 Classic Albums (4Cd)

Review Hawkins adds a laid back interpetation to these allready mellow ballads to achieve the "relaxed" sound of this record.
Giant Steps

Review Book by
The Lester Young Collection 1936-47

Review 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

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