Hampton Hawes

[Durium]

HAMPTON HAWES QUARTET

Finally the three LPs on one 2CD with the legendary concert of November 12th, 1956.

Definitive Records DRCD11371

All Night Session !

Keep swinging

Durium

[J.A.W.]

Finally the three LPs on one 2CD with the legendary concert of November 12th, 1956.

"Finally"? Contemporary/Victor Japan reissued these recordings on a 2CD-set years ago.

I wonder whose mastering was "borrowed" by Definitive this time; that Japanese Contemporary/Victor set comes to mind...

By the way, this was a studio date, not a concert.

[Larry Kart]

Also IMO -- and I'm a Hawes fan -- a fairly lifeless batch of music. Timewise, Hawes and Hall just didn't mix, at least not on that day.

Edited August 12, 2007 by Larry Kart

[Eloe Omoe]

Also IMO -- and I'm a Hawes fan -- a fairly lifeless batch of music. Timewise, Hawes and Hall just didn't mix, at least not on that day.

Volume 3 of the OJC reissue had also an unissued track, "Blues of a Sort". I wonder if it's there.

[The Magnificent Goldberg]

Funny, I was playing the "All night session" 3cd set last night. I really like this set. It has a good bit more funkiness than most Hawes - though he was always a funky player.

I think my favourite Hawes' are "High in the sky" and "Green leaves of summer". Oh, and I love the concert with Sonny Criss, Teddy Edwards and Big Joe Turner as much.

MG

[Cliff Englewood]

Yes, "Blues of a Sort" is included on the Definitive Records release, and why wouldn't it be, I mean they are called "Definitive" Records.

[Head Man]

Also IMO -- and I'm a Hawes fan -- a fairly lifeless batch of music. Timewise, Hawes and Hall just didn't mix, at least not on that day.

Yes, it's strange isn't it. I'm also a Hampton Hawes fan and when I first bought this set, decades ago on vinyl, I loved it - I even replaced it with the 2-CD Japanese re-issue a few years ago. But playing it again recently I found that it really doesn't do anything for me anymore and I now much prefer his other trio outings.

Edited August 12, 2007 by Head Man

[Durium]

Also IMO -- and I'm a Hawes fan -- a fairly lifeless batch of music. Timewise, Hawes and Hall just didn't mix, at least not on that day.

Volume 3 of the OJC reissue had also an unissued track, "Blues of a Sort". I wonder if it's there.

It is !!

All Night Session !

Keep swinging

Durium

[Morganized]

Could the Shelly Manne at the Blackhawk(vol 1-5) be far behind???

Any guesses?

6 months

9 months

12 months

[jlhoots]

Just so those that are keeping track & deciding whether to obtain, I've had the Japanese reissue for years & like it a lot.

BTW, "lifeless" would not have occurred to me.

Edited August 12, 2007 by jlhoots

[NaturalSoul]

Oh, and I love the concert with Sonny Criss, Teddy Edwards and Big Joe Turner as much.

MG

Hm, is that avalible?

[Larry Kart]

Just so those that are keeping track & deciding whether to obtain, I've had the Japanese reissue for years & like it a lot.

BTW, "lifeless" would not have occurred to me.

On second thought, "plodding" would be better.

[Chuck Nessa]

Had these lps since the '60s and always struggled to like them - 'specially since Bruz is the drummer. They never connected. If they connect for you - dandy.

[T.D.]

I'm a pretty big Hawes fan, bought Volume 3 of the All Night Sessions, but it didn't excite me, and I never purchased the first 2 volumes. As mentioned above, "Blues of a Sort" is on the OJC CD of Volume 3. I also recall an extended control room conversation (about a football game? don't recall) being strongly audible on that CD.

The Hawes CDs I seem to spin the most are Blues for Bud, Four!, For Real! and Green Leaves of Summer...

[Guest donald petersen]

one cannot discount "universe" or "blues for walls" which would be revered bomb dumpital if they had been released on black jazz.

as it is people get hard for "northern windows" because of "the axe's" production but that album is overproduced tripe. foolish.

"blues for bud" is also awesome and probably suffers from lower exposure than if it has been on milstone. jimmy woode is great, though. big sound.

[John L]

one cannot discount "universe" or "blues for walls" which would be revered bomb dumpital if they had been released on black jazz.

as it is people get hard for "northern windows" because of "the axe's" production but that album is overproduced tripe.

Sounds interesting, but a translation into "English for squares" might be helpful for some of us.

Edited August 13, 2007 by John L

[T.D.]

I thought the consensus was that Northern Windows is dreck because Hawes plays some electric piano (I haven't heard it, but passed it up at BMG clearance and yourmusic for that reason). Didn't know the David Axelrod production was a plus; descriptions I've read seemed a bit scary...

[Guest donald petersen]

well we are just not on the same page. i would say you are if not a fool, foolish...for dismissing an album because of e-piano.

hawes plays e-piano on the other two albums i mentioned and he does so quite nicely. have you heard "playin in the yard"? not a classic album but that also has hawes on e-piano swinging with kenny clarke and bob cranshaw. i don't know why a jazz purist would dislike that one.

a criticism i would find legit is if an album is overproduced and stiff because of it and "northern windows" definitely falls in that boat for me. hawes actually plays a lot of acoustic on "northern windows", it just happens to be pretty boring.

Edited August 13, 2007 by donald petersen

[Big Beat Steve]

Re- All Night Session, I must admit this was one of those cases where I bought the LP's after reading a favorable rewiew/recommendation (I just happened to come across the set of all 3 shortly after having read Ted Gioia's "West Coast Jazz").

Yes - I do like all three recordings, but on the other hand I never really compared them in greater detail with his other Contemporary albums of that time nor with the "Poll Winners" (and I like all of these too). Could it be that "All Night Session" is too accessible and too effortlessly swinging for some and therefore not demanding enough on their ears (so they automatically consider it too slick and not "stimulating" enough? )

Sometimes I feel people just rate and compare things to death; as if recording A necessarily has to outdo or top recording B, etc. Some items just aren't really comparable and ought to be listened to and enjoyed on their own terms.

[JohnS]

The All Night Session is pretty good byt for me the best Hawes are the first three trio albums on Contemporary, also on nicely collected on a Gambit 2cd.

Northern Windows, not awful just tame and dreary.

[mikeweil]

Oh, and I love the concert with Sonny Criss, Teddy Edwards and Big Joe Turner as much.

MG

Hm, is that avalible?

It's in the Fresh Sound catalogue, but temporarily out of stock. They will probably repress it in the near future. I suggest you watch their site.

Live At Memory Lane

Hampton Hawes

Featuring: The Hampton Hawes All Stars: Hampton Hawes (p), Sonny Criss (as), Teddy Edwards (ts), Harry Sweets Edison (tp), Leroy Vinnegar (b), Bobby Thimpson (d), Joe Tuner (vcl)

REFERENCE: FSCD 1043

PRICE: 9.80 €

Tracklisting:

1. Memory Lane Blues

2. Blues For J.L.

3. Feelin' Happy

4. Shake, Rattle & Roll

5. Teddy's Blues

Recorded live in Los Angeles, 1970

[mikeweil]

The All Night Session is pretty good byt for me the best Hawes are the first three trio albums on Contemporary, also on nicely collected on a Gambit 2cd.

That's Definitive, not Gambit - not that this makes a major difference ...

The Trio Complete Sessions

Hampton Hawes - Red Mitchell - Chuck Thompson

Featuring: Hampton Hawes (p), Red Mitchell (b), Chuck Thompson (d)

REFERENCE: 69235_2

PRICE: 15.45 €

THE DEFINITIVE RECORDINGS OF ONE OF THE TOP-TEN PIANO TRIOS IN JAZZ HISTORY!

The Complete Trio Recordings With Red Mitchell & Chuck Thompson For The First Time Ever On One Release!

CONTAINS THE COMPLETE ALBUMS:

· Contemporary’s June 1955 LP The Trio

· Contemporary’s December 1955 LP This Is Hampton Hawes

· Contemporary’s January 1956 LP Everybody Likes Hampton Hawes

INCLUDES AS BONUS TRACKS:

· Xanadu’s May 15, 1956 Ember’s Club Concert Recording

· Pacific Jazz’ Complete May 2, 1955 Performance with Red Mitchell & Mel Lewis

· Contemporary’s Complete June 20, 1955 Irvine Bowl Concert with Red Mitchell & Shelly Manne

This outstanding two-CD set features the complete Hampton Hawes trio recordings with bassist Red Mitchell and Chuck Thompson, including his three legendary Contemporary sessions The Trio, This Is Hampton Hawes and Everybody Likes Hampton Hawes as well as his May 15, 1956 Ember’s Club Concert Recording for Xanadu. In addition, this release contains three bonus tracks, the first featuring Hawes and Mitchell accompanied by Mel Lewis at a live performance in Hollywood on May 2, 1955, and the second and third team the pianist and bassist with West Coast drum stalwart Shelly Manne for a concert recording at the Irvine Bowl in Laguna Beach on June 20, 1955.

Tracklisting:

CD1

1. I got rhythm

2. What Is this thing called love

3. Blues the most

4. So in love

5. Feelin’ fine

6. Hamp’s blues

7. Easy living

8. All the things you are

9. These foolish things

10. Carioca

11. Just Squeeze me

12. Stella by starlight

13. Yesterdays

14. Steeplechase

15. Autumn in New York

16. Section blues

17. You and the night and the music

18. Blues for Jacque

CD2

1. ‘Round midnight

2. Somebody loves me

3. The sermon

4. Embraceable you

5. I remember you

6. A night in Tunisia

7. Lover come back to me

8. Polka dots and moonbeam

9. Billy boy

10. Body and soul

11. Coolin’ the blues

12. All the things you are

13. I got rhythm

14. How high the moon*

15. I hear music*

16. Walkin’ The champ*

There's also a nice compilation of the early stuff scattered over various albums, often with material from other pianists:

Trio And Quartet 1951-1956: Live And Studio Sessions (2 Cd Set)

Hampton Hawes

Featuring: Hampton Hawes (p), Harper Crosby (b), Lawrence Marable (d), Joe Mondragon (b), Red Mitchell (b), Larry Bunker (d,vib), Shelly Manne (d), Clarence Jones (d), Chuck Thompson (d)

REFERENCE: FSRCD 369_2

BAR CODE: -

PRICE: 17.50 €

Hampton Hawes was one of the finest jazz pianists of the 1950s, a fixture on the Los Angeles scene who brought his own interpretations to the dominant Bud Powell style. In the mid- to late '40s, he played with Sonny Criss, Dexter Gordon, and Wardell Gray, among others on Central Avenue. He was with Howard McGhee's band (1950-1951), played with Shorty Rogers and the Lighthouse All-Stars, served in the Army (1952-1954), and then led trios in the L.A. area, recording many albums for Contemporary. Arrested for heroin possession in 1958, Hawes spent five years in prison until he was pardoned by President Kennedy. He led trios for the remainder of his life, using electric piano (which disturbed his longtime fans) for a period in the early to mid-'70s, but returned to acoustic piano before dying from a stroke in 1977.

Tracklisting:

CD-1: Live Sessions

1. Buzzy

2. What Is This Thing Called Love

3. Bud's Blues

4. Another Hair Do

5. All the Things You Are

6. Blue Bird

The Haig Club, September 22, 1951.

Hampton Hawes (p), Harper Crosby (b), Lawrence Marable (dr)

7. I'll Remember April

8. Where or When

9. All God's Chillun Got Rhythm

The Surf Club, February 12, 1952.

Hampton Hawes (p), Joe Mondragon (b), Larry Bunker (dr)

10. Jumpin' Jacque

11. Don't Get Around Much Anymore

12. Hawes' Paws

13. It's You or No One

14. Buzzy

The Haig Club, September 9, 1952.

Hampton Hawes (p), Joe Mondragon (b), Shelly Manne (dr)

15. Just One of Those Things

16. Again

17. What a Difference a Day Made

18. Blue Bird

The Haig Club, December 23, 1952.

Hampton Hawes (p), Joe Mondragon (b), Shelly Manne (dr)

CD-2: Studio Sessions (except live tracks #16-18)

1. Night and Day

2. Where or When

Spring 1952.

Hampton Hawes (p), Harry Babasin (b, cello), Larry Bunker (dr, vib)

3. Jumpin' Jacque

4. Don't Get Around Much Anymore

5. It's You or No One

6. Thou Swell

September 10, 1952.

Hampton Hawes (p), Joe Mondragon (b), Shelly Manne (dr)

7. Terrible T

8. Fanfare

9. Just Squeeze Me

10. I'll Remember April

11. Hamp's Paws

12. Move

13. Once in a While

14. Buzzy

December 1952.

Hampton Hawes (p), Larry Bunker (vib), Clarence Jones (b), Lawrence Marable (dr)

15. I Hear Music

May 2, 1955.

Hampton Hawes (p), Red Mitchell (b), Mel Lewis (dr)

16. All the Things You Are

17. I Got Rhythm

18. How High the Moon

Embers Club, May 15, 1956.

Hampton Hawes (p), Red Mitchell (b), Chuck Thompson (dr)

[paul secor]

Vols. 1-3 of All Night Session are available on OJC from both CD Universe and newbury comics. Why would anyone buy a Definitive bootleg when legitimate CDs are readily available?

[The Magnificent Goldberg]

Vols. 1-3 of All Night Session are available on OJC from both CD Universe and newbury comics. Why would anyone buy a Definitive bootleg when legitimate CDs are readily available?

Is it because there's a live concert attached to the Definitive?

Is that the one with Criss, Edwards and Turner?

MG

[Larry Kart]

Re- All Night Session, I must admit this was one of those cases where I bought the LP's after reading a favorable rewiew/recommendation (I just happened to come across the set of all 3 shortly after having read Ted Gioia's "West Coast Jazz").

Yes - I do like all three recordings, but on the other hand I never really compared them in greater detail with his other Contemporary albums of that time nor with the "Poll Winners" (and I like all of these too). Could it be that "All Night Session" is too accessible and too effortlessly swinging for some and therefore not demanding enough on their ears (so they automatically consider it too slick and not "stimulating" enough? )

Sometimes I feel people just rate and compare things to death; as if recording A necessarily has to outdo or top recording B, etc. Some items just aren't really comparable and ought to be listened to and enjoyed on their own terms.

I don't see how anyone could claim that the "All Night Session" were more accessible in any way than Hawes' other Contemporary dates of the time. Stylistically, they were all pretty much in the same bag. The problem with "All Night Session" (for those who have a problem with it) is that there's something about those four players on that night that didn't click rhythmically. My guess is that the rather four-square time feel of Jim Hall of that period (and I like Jim Hall of that period) was something that seemed to infect Hawes' own normally fluid playing -- on this night, for some reason. On the other hand -- and go figure -- that same quality in early Hall certainly didn't inhibit Carl Perkins on Hall's own Pacific Jazz album of about the same time; in fact, that's some of best Carl Perkins on record. As always, YMMV.

Edited August 13, 2007 by Larry Kart