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Jazz Legends
Coleman "Bean, The Best and Only" Hawkins Tenor Sax, Clarinet, Bass Sax Born on November 21, 1904 in St. Joseph, Missouri Died on May 19, 1969 in New York, New York Back To Jazz Legends Index The liner notes of one album begin like this: "Coleman Hawkins? Man, he invented the tenor sax!" It is hard to disagree: Hawkins was the first man to solo on tenor, the first to record in the bop style, and the first to record unaccompanied on the instrument, with "Picasso" in 1948. Thoroughly grounded in the fundamentals (he supposedly could play any song in any key), Hawkins played with a facility previously unseen in the tenor, and with a drive which many musicians copied. He is largely responsible for making tenor the main solo voice of the saxophone family. Coleman Hawkins grew up around music. He started off playing piano and cello; he began learning tenor at the age of nine. His first love was classical music (supposedly it was all he ever listened to in his spare time) but got a liking for jazz through records. After study at Washburn College, he worked in the pit band of a Kansas City theater, and in 1921 toured with Mamie Smith and Her Jazz Hounds, one of the first blues groups to record. (It was with Smith that he made his first recordings.) When the Jazz Hounds arrived in New York, he sought out the hottest bandleader in the city, Fletcher Henderson – and got himself a job offer. After recording with Hawkins in 1923, Henderson formed a regular band the following year; Hawkins led the sax section, and would until 1934. It was with Henderson that Hawk’s style began to take shape. He picked up ideas on phrasing from a man in the trumpet section, Louis Armstrong. After leaving the band, he went on to Europe, recording with Django Reinhardt and eventually staying there until 1939. With the threat of war he returned to the U.S., and in an unplanned session cut a version of "Body and Soul" in which the theme was barely stated. This highly influential record proved Hawkins’ mastery of ballads and his willingness to experiment. There would be plenty of both in the years ahead. After a brief attempt at leading a big band, Hawkins became interested in the emerging style of bebop. Without significantly changing his style, he fit comfortably among the young players and handled their harmonics with ease. At different times he hired Thelonious Monk and Fats Navarro; his date with Don Byas is considered the first official bop recording. After touring Europe again in 1949, Hawkins remained in fine form, although there were fewer opportunities to record. Thelonious Monk used him for the Monk’s Music album, in a septet which included John Coltrane. A contract with Prestige Records used him in many different groups, most of which centered on low-key ballads. He continued to learn from young players, and employ them in his groups; near the end his attack grew stronger, sounding like Coltrane at times. In the mid-‘Sixties he was playing in the Jazz at the Philharmonic concert series, and at once seemed to lose interest in life. His diet became mostly alcohol, he lost weight rapidly, and died suddenly in 1969. The saxophone world owes a lot to his major body of work. People who influenced him: Louis Armstrong, Buster Bailey, John Coltrane People whom he influenced: Gene Ammons, Eddie "Lockjaw" Davis, Johnny Griffin, Sonny Rollins Played with: Pepper Adams, Henry "Red" Allen, Louis Armstrong, Chu Berry, Eddie Bert, Art Blakey, Ray Brown, Ray Bryant, Kenny Burrell, Don Byas, Donald Byrd, Benny Carter, Ron Carter, Al Casey, Big Sid Catlett, Kenny Clarke, Arnett Cobb, Cozy Cole, John Coltrane, Bob Cranshaw, Art Davis, Eddie "Lockjaw" Davis, Miles Davis, Eric Dolphy, Roy Eldridge, Duke Ellington, Herb Ellis, Red Garland, Dizzy Gillespie, Stephane Grappelli, Tiny Grimes, Gigi Gryce, Jimmy Hamilton, Lionel Hampton, Barry Harris, Fletcher Henderson, J.C. Higginbotham, Milt Hinton, Milt Jackson, Gus Johnson, J.J. Johnson, Osie Johnson, Hank Jones, Jo Jones, Jonah Jones, Thelonious Monk, James Moody, Fats Navarro, Oscar Peterson, Oscar Pettiford, Django Reinhardt, Jerome Richardson, Max Roach, Curley Russell, Shirley Scott, Charlie Shavers, Rex Stewart, Buddy Tate, Billy Taylor, Doug Watkins, Ben Webster, Cootie Williams, Teddy Wilson Quotes by Coleman Hawkins: "I honestly can’t characterize my style in words. It seems that whatever comes to me naturally, I play." Quotes about Coleman Hawkins: "Man, he swings! He swings out of this world!" – Louis Armstrong Recommended Reading: John Chilton, The Song of the Hawk: The Life and Recordings of Coleman Hawkins. Recommended Recordings: As leader: Body and Soul (RCA, 1996) A nice compilation of his RCA sides, starting with the classic 1939 version of "Body and Soul". There are big band tracks (the great "Doctor Foo"), an octet session with Benny Carter, and bop tunes with Fats Navarro. Hawkins’ tone is exquisite throughout. Coleman Hawkins Encounters Ben Webster (Verve, 1957) Two gruff balladeers go at it, backed by the Oscar Peterson trio. Hearing Hawk’s full, syrup-sweet notes on "It Never Entered My Mind" will explain why he’s important to jazz history. A few competitive shouters are mixed among a great set of ballads – well worth it. The Hawk Relaxes (Moodsville, 1961) The band includes Ron Carter, Kenny Burrell, and Andrew Cyrille in his first recording. The tunes are soft, Hawkins is sandpapery, and the mood is precious. Listen to "Moonglow" and "More than You Know".Night Hawk (Swingville, 1960) Quiet competition between Hawkins and Lockjaw, as both growl away on gentle tunes. All of this is good, but "In a Mellow Tone" is in a class by itself. Swiss Radio Days: Lausanne 1949 (TCB, 2000) A radio broadcast from Hawkins’ 1949 European tour. Kenny Clarke drums, and James Moody is heard on half of the tracks. The expected mix of ballads and blues; Hawkins is great on "Rifftide", a tune that Monk called "Hackensack". Things Ain’t What They Used to Be (Swingville, 1961) An easy-going swing session, arranged by Jimmy Hamilton and featuring major names. Best is the blues "Jammin’ in Swingville", where the solos go on forever. (The album also contains an unrelated Pee Wee Russell session.) Timeless Jazz (Jazztone, 1954) A very solid blowing session, with old pros (Emmett Berry, Jo Jones) and rising stars (Billy Taylor, Eddie Bert). Everybody romps on "Get Happy"; the solos on "Out of Nowhere" will make your heart melt. Eddie Bert had a bad fever on the day of the session, but still played – because he’d always wanted to play with Coleman Hawkins. Later reissued as Jazz Tones by Prevue Records in 1998. As sideman: Kenny Burrell – Bluesy Burrell (Moodsville, 1962) Hawkins’ last work for Prestige, he appears on half of these tracks. While Burrell tiptoes gently, on a background of bass and congas, Hawkins swaggers in a rich expressive tone. His solos are the best part of what would otherwise be a pretty lightweight session. Ida Cox – Blues for Rampart Street (Riverside, 1961) The 1920s blues legend (she wrote "Nobody Loves You When You’re Down and Out") makes a comeback album in distinguished company. Ida’s voice is still strong but the real attraction is Hawk and Roy Eldridge, playing in the old style. Eddie "Lockjaw" Davis – Very Saxy (Prestige, 1959) A four-tenor jam session, with Shirley Scott leading the rhythm. The horns all have similar styles, and they’re trying their best to outdo the others – the listener is well rewarded. The title cut is a variation on "Georgia Brown"; Hawkins is incredible on "Lester Leaps In". Lambert, Hendricks, and Bevan – Newport ’63 (RCA, 1963) Hawkins and Clark Terry are the horns for this happy, rollicking session. Yolande Bevan tries her best to replace Annie Ross; she’s good, but noticeably struggles at times. The horns are great on "Yeh Yeh", with Hendricks and the crowd shouting them on. Back To Jazz Legends Index |