Coleman Hawkins and His Orchestra

Coleman Hawkins and His Orchestra

18.50

Coleman Hawkins (tenor sax), Thad Jones (trumpet), Eddie Costa (piano, vibraphone), George Duvivier (bass), Osie Johnson (drums)  

Recorded in 1960

Crown 5181

Pure Pleasure Records :  LP 180 gram

Brand New and Sealed Record

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A1 - Bean In Orbit
A2 - After Midnight
A3 - Hassle
B1 - Moodsville
B2 - Stalking

Coleman Randolph Hawkins (November 21, 1904 – May 19, 1969), nicknamed "Hawk" and sometimes "Bean", was an American jazz tenor saxophonist. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained : "there were some tenor players before him, but the instrument was not an acknowledged jazz horn". While Hawkins is strongly associated with the swing music and big band era, he had a role in the development of bebop in the 1940s.
Fellow saxophonist Lester Young, known as "Pres", commented in a 1959 interview with The Jazz Review: "As far as I'm concerned, I think Coleman Hawkins was the President first, right? As far as myself, I think I'm the second one." Miles Davis once said: "When I heard Hawk, I learned to play ballads."

Jazz saxophonist Coleman Hawkins is joined by George Duvivier, Osie Johnson, Eddie Costa and Thad Jones for these five selections featuring After Midnight and Moodsville. The ideas, the technique, the style, leave no doubt that Hawkins is still the titan of the tenor. "The Hawk" cuts loose, with virility and inventiveness, on a group of his own original tunes. His work is fiery on the upthings; lush and spellbinding on the ballads. At all times, he is very much the inspired "Hawk." Listen to the heart and soul of "the most influential reed man in the world." 

"Actual playing experience on the job is the best way to learn to think. Improvising is playing with a lot of thought behind it; but none of the hard work that goes into thinking should show up in your playing. Too often improvising is really copying. To really improvise, a musician needs to know everything - not only his instrument, but harnony, composition, theory, the whole works. It's more important than ever today. When you don't have the control (of your instrument), you can't incorporate the ideas that you hear and feel into your style. That's what's wrong with so many of the players coming up today. Sure... I was advanced for my time in those early days, for just that reason - I had studied hard since I was five, and studied classics all my life, and it gives me an advantage over the other fellows I was playing with." - Coleman Hawkins