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the don redman all-stars vol. 1
featuring coleman hawkins
…and more bears RECORDINGS “designed for repeated listening” AMB 90030 2 the don redman all-stars featuring coleman hawkins vol. 1
1. Last Night In Town (& Coleman Hawkins) (Hal Keller) ...... 2:42 2. To The River (Frank Stanton) ...... 2:20 3. Ballad 'n' Bounce (Dale W. Eymann) ...... 2:34 4. Dreamy Melody (Frederick Koch) ...... 2:28 5. Desert Dance (Edward G. Klemm) ...... 2:41 6. Chevy's Chase (Hal Keller) ...... 2:40 7. Christmas In The Valley (& Coleman Hawkins) (Louis O'Connell) ...... 2:06 8. Donnybrook (Antoni Buzuk) ...... 2:57 9. Ain't Gonna Get Fooled Again (& Coleman Hawkins) (Cobb-Kanner)...... 3:56 10. Voodoo (& Coleman Hawkins) (Charles Haubiel)...... 1:20
Original: SESAC N 2101/2102 P 1957
Achtern Dahl 4 • D-27729 Vollersode • PGermany 2009 & C 2009 …AND MORE BEARS LC 12483 AMB 90030 3
Against an all-star background, this album re-unites Don Redman and Coleman Hawkins who, for twenty-five years, have stood as major figures in the realm of American jazz. Don Redman’s name has become identified with a particular style of arranging and composition that has its roots deep in the formative era of big band jazz. The Redman stamp is unmis- takable, for the music is vibrant, imaginative, tightknit and impulsive. He is a master of orchestral color, mass sound and contrasting moods. Coleman Hawkins, 'The Hawk' or 'The Bean', as he is affectionately known in the trade, has been the guiding light in the liberation of the tenor saxophone. He pioneered and developed the solo rhapsodic style and solo jump style, now regarded as milestones in broadening the scope of the instrument.
The soaring drive of the Coleman Hawkins tenor consumes a roadful of musical mileage in the jump opener that makes the scene of the Last Night In Town. Then, the road leads To The River,a perceptive spiritual-in-jazz jog tactfully arranged by Don and featuring a guitar-vibes unison. In Ballad 'n' Bounce, which follows, the orchestra responds with a matchless swing production headed by Al Cohn’s tenor and assisted by Hank Jones at the piano, Al Hall behind the bass and Charlie Shavers on trumpet. The ram- paging pace is pacified by the easy-listening Dreamy Melody, up next, which highlights the imposing tones of Sonny Russo’s trombone. The side concludes under the scorching sun and amid the burning sands, where AMB 90030 4 the don redman all-stars featuring coleman hawkins vol. 1 Don and the jazz nomads have found an oasis – the inherent booming beat of a Desert Dance.
The flip over starts off with a madball bash whose name is derived from an old Scotch-English Ballad. It’s a rhythm rumpus with a devil-to-pay flair called Chevy’s Chase. Then 'The Hawk' makes like Santa with a bag-full on tenor tricks in a tune-tinseled ballad that describes Christmas In The Valley. This scintillating holiday setting is turned into a veritable Donnybrook in the jump session that follows, as Charlie Shavers on trumpet, Al Cohn on tenor, and trombone-man Jimmy Cleveland become the solo contenders.
A swinging blues with a honky-tonk beat brings back Coleman Hawkins with some solo work that demonstrates why he has carved a deep impression on most tenor sax players in jazz. The tune is a wailing resolution that says – Ain’t Gonna Get Fooled Again. Don Redman himself joins Osie Johnson in tympany to rap out the rhythm of jungle madness – the primitive, haunting insinuating beat which accents the sorcery and magic passion of the West Indian and African ritual called …. Voodoo.
ORIGINAL LINER NOTES AMB 90030 5
Recorded
July 22, 1957 (14:25 - 17:55) at Capitol Recording Studios, 151 W. 46th Street, New York City
The Don Redman All-Stars:
George Barnes, guitar; Al Hall, bass; Osie Johnson, drums; Hank Jones, piano; Danny Bank, George Dorsey, Coleman Hawkins, Seldon Powell, Milt Yaner, saxophones; Bobby Byrne, Jimmy Cleveland, Sonny Russo, trombones; Al Mattaliano, Charlie Shavers, Joe Wilder, trumpets
July 26, 1957 (14:00 - 18:15) at Capitol Recording Studios, 151 W. 46th Street, New York City
The Don Redman All-Stars:
George Barnes, guitar; Al Hall, bass; Osie Johnson, drums; Hank Jones, piano; Danny Bank, Al Cohn, George Dorsey, Seldon Powell, Milt Yaner, saxophones; Jimmy Cleveland, John Hitchcock, Sonny Russo, trombones; Al Mattaliano, Charlie Shavers, Joe Wilder, trumpets AMB 90030 6
…and more bears RECORDINGS “designed for repeated listening”
For the very first time you now can acquire –These recordings were initially produced for exclusively throughAND … MORE BEARS – the PT SESAC, America's second-oldest copyright society. Master Recording catalog, formerly known as The library was active from the late 1940s until 'SESAC Transcribed Library'. Extensive parts of the early ‘80s. The rights to the recordings were this catalog will be available worldwide for owned exclusively by the heirs of the SESAC downloading through the regular channels and founder and, with a few exceptions, have never platforms, as well as CD-on-demand albums. been used for vinyl recordings... much less CD. The most important point for music lovers and collectors is the material's exclusiveness:
the music was unavailable elsewhere. Highlights of the catalogue include: The musicians and band-leaders were given studio ● A catalog of more than 7500 songs; time to record exclusive sessions of extra songs. Successful artists liked SESAC because it meant ● Exclusive recordings from jazz giants such as Count some extra money. From the very beginning, the Basie, Duke Ellington, Woody Herman and many others; repertoire was only available on a loan basis for ● Ace session musicians and supporting players who were radio stations – every month the stations were stars in their own right like Alice Coltrane, Nat Adderly, given 40 cm transcription discs (later LP-sized Thad Jones, Kai Winding, Si Zentner, Gary Burton, Andy discs) that were delivered with complete text Williams, Eric Dolphy, Zoot Sims and many, many more; information for the radio presenters. For DJs, ● Rare and sought after session recordings with Chet At- SESAC transcriptions meant interesting and rare kins, The Jordanaires, Anita Kerr, Richard Maltby, Tony material for their audiences. And the sound Mottola, Nathaniel Shilkret, The Stamps Baxter Men, quality is brilliant, as the recordings took place The Statesmen, Webb Pierce and Faron Young; in some of America's best studios, and out- standing arrangers worked on these sessions. ● Extensive classical repertoire with symphony orchestras. ● 1950s material in categories like Swing, Lounge, Country, Folk, Barbershop, Choir, Cowboy Music, Southern Gospel, Hawaiian, Latin, Marching Bands, Polkas among others.
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