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 Hawkins adds a laid back interpetation to these allready mellow ballads to achieve the "relaxed" sound of this record.
Complete Recordings: 1952-1959 (4CD Box Set)

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

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.
12 Classic Albums: 1956-1962 [6CD]

Review Coleman Hawkins and Horace Silver were only recorded together during the two Birdland broadcasts presented here, which had never previously appeared on CD. As a bonus, we have added Hawkins' complete quartet set at the First Playboy Jazz Festival in 1959 and a seven-minute Hawkins interview, which also appear here for the first time ever on CD.
13 Classic Albums: 1954-1960

Review One of the first musicians to use the tenor saxophone as a leading jazz instrument, Coleman Hawkins was among the defining figures of the swing, big band and hard bop movements. Idolised by generations of legendary performers, including Lester Young and Miles Davis - the latter of whom credited his education in ballads to Hawkins - the man known to many as Hawk or Bean helped lay down the early foundations of modern jazz through his trademark style and multitude of early recordings that would change the face of the genre as it progressed through the 20th century. Coleman Randolph Hawkins was born on 21st November 1904 in St. Joseph, Missouri, and began receiving piano lessons from his mother at the age of five. The first of many instruments he learned during his youth, by the age of nine he could also play the cello and the saxophone, although it would be the latter that he stayed with for the long term. He attended Topeka High School in Kansas before studying harmony and composition for two years at Washburn College. Having played the eastern Kansas area since the age of 14, Hawkins got his first break in 1921 when he joined singer Mamie Smith s Jazz Hounds, a group he stayed with for two years. He then joined Fletcher Henderson s Orchestra, a role he held for over a decade. Occasionally doubling on clarinet and bass saxophone, Hawkins drew great influence from Louis Armstrong s tenure in the group, and his playing changed dramatically during this period. In the late 1920s, Hawkins became involved with some of the first interracial recording sessions when he sat in with The Mound City Big Blowers. While new talent influenced by Hawkins playing flourished during the 1930s - including Lester Young and Ben Webster - Hawkins himself toured Europe as a soloist for much of the decade, performing and recording alongside Django Reinhardt and Benny Carter while in Paris. Upon returning to the United States in 1939, he recorded a landmark version of Body and Soul while performing at Kelly s Stables in New York on 11th October. Ignoring almost all the melody in favour of an exploration of the harmonic structure, his playing was considered the next step in the evolution of jazz following on from Louis Armstrong s West End Blues in 1928. In 1944, Hawkins took part in what is considered by many to be the first ever bebop session, performing alongside trumpeter Dizzy Gillespie, bassist Oscar Pettiford and drummer Max Roach. Throughout the 1930s and 1940s, Coleman Hawkins took part in numerous recording sessions, although, as was common at the time, these were mainly released as 78 RPM singles. However, many would reappear over the coming years on a series of 10 records and albums. These included the triple shellac collection On Asch Records (Asch, 1945), Tenor Sax Stylings, Vol. 1 (Brunswick, 1952) - volume two of which showcased the talents of Ben Webster - and King Of The Tenor Sax (Commodore, 1952). In 1954, he released his first full album as band leader, The Hawk Returns (Savoy), which was followed by a fine series of records, which included The Hawk In Hi-Fi (RCA Victor, 1956), on which he was backed by Billy Byers and his Orchestra , and The Hawk Flies High (Riverside, 1957). This collection, containing over four hours of music across four discs, collates over a decade s worth of material covering Coleman Hawkins first run of albums as bandleader. With all recordings remastered and included in their entirety, this compilation provides the perfect introduction to Hawkins work, as well as demonstrating perfectly the fascinating manner in which the tenor sax man s style evolved throughout this period of his career.
12 Classic Albums: 1953-1962 (6CDs)

Review Hawkins is truly "At Ease" on this 1960 recording.
Complete Recordings: 1959-1962 (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".
The Prestige Years

Review let some jazz spice up your night
9 Classic Albums - Art Tatum

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

Review HAWKINS COLEMAN NIGHT HAWK
A Musical Romance

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.
Saxophone Colossus [Reissue]

Review Coleman Hawkins and Horace Silver were only recorded together during the two Birdland broadcasts presented here, which had never previously appeared on CD. As a bonus, we have added Hawkins' complete quartet set at the First Playboy Jazz Festival in 1959 and a seven-minute Hawkins interview, which also appear here for the first time ever on CD.
Coleman Hawkins Encounters Ben Webster

Review One of the first musicians to use the tenor saxophone as a leading jazz instrument, Coleman Hawkins was among the defining figures of the swing, big band and hard bop movements. Idolised by generations of legendary performers, including Lester Young and Miles Davis - the latter of whom credited his education in ballads to Hawkins - the man known to many as Hawk or Bean helped lay down the early foundations of modern jazz through his trademark style and multitude of early recordings that would change the face of the genre as it progressed through the 20th century. Coleman Randolph Hawkins was born on 21st November 1904 in St. Joseph, Missouri, and began receiving piano lessons from his mother at the age of five. The first of many instruments he learned during his youth, by the age of nine he could also play the cello and the saxophone, although it would be the latter that he stayed with for the long term. He attended Topeka High School in Kansas before studying harmony and composition for two years at Washburn College. Having played the eastern Kansas area since the age of 14, Hawkins got his first break in 1921 when he joined singer Mamie Smith s Jazz Hounds, a group he stayed with for two years. He then joined Fletcher Henderson s Orchestra, a role he held for over a decade. Occasionally doubling on clarinet and bass saxophone, Hawkins drew great influence from Louis Armstrong s tenure in the group, and his playing changed dramatically during this period. In the late 1920s, Hawkins became involved with some of the first interracial recording sessions when he sat in with The Mound City Big Blowers. While new talent influenced by Hawkins playing flourished during the 1930s - including Lester Young and Ben Webster - Hawkins himself toured Europe as a soloist for much of the decade, performing and recording alongside Django Reinhardt and Benny Carter while in Paris. Upon returning to the United States in 1939, he recorded a landmark version of Body and Soul while performing at Kelly s Stables in New York on 11th October. Ignoring almost all the melody in favour of an exploration of the harmonic structure, his playing was considered the next step in the evolution of jazz following on from Louis Armstrong s West End Blues in 1928. In 1944, Hawkins took part in what is considered by many to be the first ever bebop session, performing alongside trumpeter Dizzy Gillespie, bassist Oscar Pettiford and drummer Max Roach. Throughout the 1930s and 1940s, Coleman Hawkins took part in numerous recording sessions, although, as was common at the time, these were mainly released as 78 RPM singles. However, many would reappear over the coming years on a series of 10 records and albums. These included the triple shellac collection On Asch Records (Asch, 1945), Tenor Sax Stylings, Vol. 1 (Brunswick, 1952) - volume two of which showcased the talents of Ben Webster - and King Of The Tenor Sax (Commodore, 1952). In 1954, he released his first full album as band leader, The Hawk Returns (Savoy), which was followed by a fine series of records, which included The Hawk In Hi-Fi (RCA Victor, 1956), on which he was backed by Billy Byers and his Orchestra , and The Hawk Flies High (Riverside, 1957). This collection, containing over four hours of music across four discs, collates over a decade s worth of material covering Coleman Hawkins first run of albums as bandleader. With all recordings remastered and included in their entirety, this compilation provides the perfect introduction to Hawkins work, as well as demonstrating perfectly the fascinating manner in which the tenor sax man s style evolved throughout this period of his career.
The Lester Young Collection 1936-47

Review Hawkins is truly "At Ease" on this 1960 recording.

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