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120744Bk Hawkins3 14/11/04 1:29 PM Page 2 120744bk Hawkins3 14/11/04 1:29 PM Page 2 1. Stumpy 3:19 7. Wood’n You 3:02 13. Under A Blanket Of Blue 3:13 19. Ladies’ Lullaby 3:08 (Coleman Hawkins) (John Gillespie) (Marty Symes–Al Neiburg–Jerry Livingston) (Sir Charles Thompson) Coleman Hawkins & His Orchestra Coleman Hawkins & His Orchestra Coleman Hawkins All American 5 featuring Coleman Hawkins & His Orchestra Signature 28102, mx T-1908-2A Apollo 751, mx R 1000 Teddy Wilson Asch 3552, mx 793 Recorded 8 December 1943 Recorded 16 February 1944 Keynote K 655, mx HL 65-1 Recorded 11 January 1945 2. Hawkins Barrelhouse 3:00 8. Bu-Dee-Daht 3:14 Recorded 17 October 1944 20. Bean Stalking 3:13 (Coleman Hawkins) (Albert Johnson–Clyde Hart) 14 In A Shanty In Old Shanty Town 3:01 (Coleman Hawkins) Coleman Hawkins & His Orchestra Coleman Hawkins & His Orchestra (Joe Young–John Siras–Little Jack Little) Coleman Hawkins & His Orchestra Signature 28101, mx T-1907 Apollo 752, mx R 1001 Coleman Hawkins All American 5 featuring Asch 3551, mx 791 Recorded 8 December 1943 Recorded 16 February 1944 Teddy Wilson Recorded 11 January 1945 Keynote K 622, mx HL 67-3 3. ’S Wonderful 2:43 9. Yesterdays 2:58 All selections recorded in New York Recorded 17 October 1944 (George & Ira Gershwin) (Jerome Kern–Otto Harbach) Transfers & Production: David Lennick Coleman Hawkins Quintet featuring Coleman Hawkins & His Orchestra 15. El Salon De Gutbucket 3:02 Digital Restoration: K&A Productions Ltd Teddy Wilson Apollo 752, mx R 1002 (Charlie Shavers) Keynote K 609, mx KHL 10-2 Recorded 16 February 1944 Charlie Shavers All American 5 Original 78s from the collections of David Lennick & John Wilby Recorded 31 January 1944 10. Disorder At The Border 2:59 Keynote K 619, mx HL 69-1 Discographical information courtesy of The Jazz 4. I’m In The Mood For Love 3:18 (Coleman Hawkins) Recorded 18 October 1944 Discography by Tom Lord (www.lordisco.com) (Dorothy Fields–Jimmy McHugh) Coleman Hawkins & His Orchestra; 16. Sportsman’s Hop 3:03 Coleman Hawkins Quintet featuring Apollo 753, mx R 1003 (Sir Charles Thompson) Original monochrome photo of Coleman Teddy Wilson 22 February 1944 Coleman Hawkins & His Orchestra Hawkins from Michael Ochs Archives / Redferns Keynote K 610, mx KHL 11-1 11. Feeling Zero 3:01 Asch 3553, mx 790 Recorded 31 January 1944 (Coleman Hawkins) Recorded 11 January 1945 Also available 5. Bean At The Met 3:05 Coleman Hawkins & His Orchestra 17. Ready For Love 3:03 (Coleman Hawkins) Apollo 753, mx R 1004 (Howard McGhee) in the Naxos Coleman Hawkins Quintet featuring Recorded 22 February 1944 Coleman Hawkins & His Orchestra Jazz Legends Teddy Wilson 12. Beyond The Blue Horizon 3:00 Asch 3553, mx 792 series ... Keynote K 610, mx KHL 12-3 (Robin Harlin–Richard Whiting) Recorded 11 January 1945 Recorded 31 January 1944 8.120626 Coleman Hawkins All American 5 featuring 18. Night Ramble 2:30 Not available 6. Imagination 2:50 Teddy Wilson (Coleman Hawkins) in the USA (Johnny Burke–Jimmy Van Heusen) Keynote K 622, mx HL 66-3 Coleman Hawkins & His Orchestra Coleman Hawkins Quintet featuring Recorded 17 October 1944 Asch 3552, mx 794 Teddy Wilson Recorded 11 January 1945 Keynote K 612, mx HL 14 Recorded 17 February 1944 NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120744 6 8.120744 120744bk Hawkins3 14/11/04 1:29 PM Page 1 COLEMAN HAWKINS Pianist Ellis Larkins and trumpeter Bill Coleman is one of the tenor’s catchier originals and the that these boppish performances predate the numbers as Woody’n You and Ladies’ Lullaby, Vol.3 have solos before Hawkins enters, sounding quite blues inspires Gillespie to create his most heated first joint recordings of Charlie Parker and Dizzy that the tenor-saxophonist had been a member ‘Bean At The Met’ Original Recordings 1943-1945 exuberant and completely in control. An solo of these sessions, showing that he was ready Gillespie and would have made a bigger impact of Mamie Smith’s Jazz Hounds in 1921. But it is uptempo boogie-blues, Hawkins’ Barrelhouse, in 1944 to lead the mainstream of jazz to bebop. had they been released by a larger label than the equally difficult to believe that Hawkins would in Coleman Hawkins was the first important tenor- Louis Armstrong joined the band later in the has fine swing playing from bassist Oscar Feeling Zero has an unusual melody and chord tiny Asch company. Sportsman’s Hop is partly future years hold his own with the likes of Sonny saxophonist in jazz history. One of the more year. Due to the inspiration of Armstrong, Pettiford, drummer Cozy Cole, Larkins, guitarist structure, worthy of one of Duke Ellington’s based on “Lullaby In Rhythm” while Ladies Rollins, John Coltrane and Thelonious Monk remarkable aspects to his career, in addition to Hawkins learned how to use space, switched to Al Casey, clarinettist Andy Fitzgerald, Coleman 1930s mood pieces. Hawkins as usual has no Lullaby is a well-disguised “Diga Diga Do,” a (whom he had hired as his pianist for a few the fact that he completely paved his own way legato phrasing and became a jazz giant. His and finally Hawkins who riffs away passionately difficulty ripping through the chords. song played by Duke Ellington in the late 1920s. months in 1944). without any predecessors to learn from, is that 1925 improvisation on “Stampede” is considered throughout the dixielandish ensembles. The next four selections feature Hawkins Both tunes are full of boppish ideas both in the But Coleman Hawkins was in his own he was always a modern soloist, whether it was the first major tenor-sax solo on record. Moving into 1944, Hawkins is teamed with back with a swing quintet. A jubilant version of ensembles and the solos. McGhee’s haunting category and his career would remain on a 1924 or 1964. Famous for his knowledge of By 1934, Hawkins was frustrated with the great swing trumpeter Roy Eldridge, a fiery Beyond The Blue Horizon, a lightly swinging Ready For Love is a highlight and a song well remarkably high level until the mid-1960s, chords and harmonies, Hawkins could be a bit Henderson’s lack of business sense and the fact and competitive improviser who always pushed Under A Blanket Of Blue and an unlikely In A worth reviving. Night Ramble is based on a always eternally modern. old-fashioned rhythmically but his choice of that the band’s success had stalled. He moved Hawk to play at his most heated. Co-starring on Shanty In Old Shanty Town (best-known favourite Hawkins phrase as is Bean Stalking. notes was always advanced. to Europe for five years, playing all over the ’S Wonderful, I’m In The Mood For Love and an previously as a pop song) not only have featured The latter piece has a McGhee solo that is clearly – Scott Yanow, author of 8 jazz books including Jazz Born 21 November 1904 in St. Joseph, continent and being recognised as an artist. original riff piece (Bean At The Met) that is choruses by Wilson and trumpeter Buck Clayton inspired by Gillespie. On Film, Swing, Bebop, Trumpet Kings and Jazz On Missouri, Hawkins had piano lessons when he Hawkins returned to the U.S. shortly before based on “How High The Moon” is the definitive (who was formerly with the Count Basie It is difficult to believe, while hearing such Record 1917-76 was five, switched to cello two years later and at World War II started and, although challenged swing pianist Teddy Wilson, whose impeccable Orchestra) but spots for the humming and nine started playing tenor-sax. At the time the for supremacy by the softer-toned tenor Lester taste keeps the exciting music grounded. Wilson bowed bass of the witty Slam Stewart. A similar Personnel horn had no real history or legacy, being used Young, his recording of “Body And Soul” showed is also an important part of the accompaniment date from the following day has Charlie Shavers primarily in vaudeville as a novelty instrument. that Hawkins was still a major force. behind Hawkins on his medium-tempo ballad in Clayton’s place, stealing solo honours with an Tracks 1–2: Bill Coleman, trumpet; Andy Tracks 10–11: Dizzy Gillespie, Vic Coulsen, Eddie Hawkins developed his own huge sound and After leading a short-lived big band in 1940, feature Imagination. Listen to how the tenor explosive chorus on his blues El Salon De Fitzgerald, clarinet; Coleman Hawkins, tenor Vanderveer, trumpets; Leo Parker, Leonard harmonically rich improvisations. He was a prof- Hawkins became a fixture on 52nd Street where digs into each chord, coming up with fresh ideas. Gutbucket. Even sixty years later, the music’s joy, sax; Ellis Larkins, piano; Al Casey, guitar; Lowry, alto sax; Coleman Hawkins, Don Byas, essional by 1917 when he was twelve and worked he led combos. The 1943-45 period covered in In February 1944 Coleman Hawkins led what sincerity and passion are timeless. Oscar Pettiford, bass; Shelley Manne, drums Ray Abrams, tenor sax; Budd Johnson, baritone in a Kansas City theatre pit band in 1921 where this collection is particularly intriguing for is considered to be the first two bebop recording In late-1944 Coleman Hawkins put together Tracks 3–5: Roy Eldridge, trumpet; Coleman & tenor sax; Clyde Hart, piano; Oscar Pettiford, he was discovered by the pioneering blues singer Hawkins is heard with a wide variety of stylists.
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