kh1958 Posted December 16, 2011 Report Posted December 16, 2011 Geez...I loves me some Coleman Hawkins, and am always looking for a new issue. Anybody want to pull my coat? Not a "new" release, but one that's somewhat uncommon: Coleman Hawkins at the Golden Circle 1963 (Dragon). Hawk is in fine form, sounding relaxed and comfortable (that may not always be a good thing, but it is in this case). He plays a wonderful 2 1/2 minute unaccompanied solo at the beginning of "If I Had You". The four tracks recorded on the first night of the date are some of my favorite Coleman Hawkins. Three tracks from 1950 and 1954 are added to the 1963 recordings. You may already know this music, but I thought I'd mention it, just in case. This sounds good; I ordered it; thanks. Quote
Larry Kart Posted December 16, 2011 Report Posted December 16, 2011 Don't know what form, if any, they're available now, but the four performances ("All the Things You Are," "Centerpiece," "Body and Soul," and "Just You, Just Me") that Hawkins played in Chicago at the Playboy Jazz Festival on Aug. 9, 1959, with Eddie Higgins, Bob Cranshaw, and Walter Perkins, are sublime and very intense. I have them on an LP, Spotlite 137. Quote
marcello Posted December 16, 2011 Report Posted December 16, 2011 Yep, I have the same LP. Great set(s) I remember reading a interview with Eddie Higgins about that set. He said he never met Hawkins before and that there was a hardly a word said before the performance. All The Things You Are Centrepiece Body And Soul Just You, Just Me The Way You Look Tonight I Can't Get Started Moonglow Quote
JSngry Posted December 20, 2011 Report Posted December 20, 2011 If that is not the disdainful scowl of a serious m***** f*****, then there have never been any serious m***** f****s in the history of the world, ever. And I'm pretty sure there have been. Why is m***** f*****two words, though? Quote
JSngry Posted December 20, 2011 Report Posted December 20, 2011 http://www.youtube.c...s&feature=share Damn... Quote
cih Posted December 20, 2011 Report Posted December 20, 2011 (edited) even though he's SO great - I reckon he's also one of the most accessible jazz players for the uninitiated - I mean, if I had to recommend something to someone interested in exploring jazz for the first time I might show them that movie. If they didn't like Coleman Hawkins, It'd be a hard sell. swinging, edgy, sexy, cool... I can remember the first time I really noticed him, on 'Monk's Music' - coming in after the drum solo on one of the early tunes - like somebody starting to speak in short utterances that then build together - it blew me away ..I guess he was the one where it really clicked and I got what was so important about an individual's tone and voice. Edited December 20, 2011 by cih Quote
JSngry Posted December 20, 2011 Report Posted December 20, 2011 I reckon he's also one of the most accessible jazz players for the uninitiated Really? I'd reckon him to be one of the more difficult. Relative to anything "modern" of the last 60 years or so, his tone is so hard, and his time is so "non-swinging"...I know I appreciated him long before I really dug him. But now, hell yeah! Quote
cih Posted December 20, 2011 Report Posted December 20, 2011 (edited) well, really for me anyway... probably my own listening is sufficiently superficial to not notice why I shouldn't have got him! I wish I could really describe what he sounds like to me - kind of heavy but hanging, and like thick oil or something. and yeah - now listening, right about the non-swinging time - except sometimes - 'On The Sunny Side Of the Street' Relative to anything "modern" of the last 60 years or so actually, that'll be it I expect - most of my listening is pre-war blues & stuff Edited December 20, 2011 by cih Quote
cih Posted December 22, 2011 Report Posted December 22, 2011 (edited) seriously though - is there a way of not enjoying that video, even for the layman? Also, he is swinging on that isn't he? if not then I need to get a better definition of swing (I mean this sincerely btw) he sounds sort of 'sticky' but still propels it along (to my ears) edit - ok forget 'on the Sunny Side of the Street' (above) I must have been listening to the wrong record - I think it was Dorothy Fields on her penny whistle edit edit - the layman doesn't like it - or claims not to Edited December 22, 2011 by cih Quote
king ubu Posted December 22, 2011 Report Posted December 22, 2011 I'm much with Sangrey here... there's some Hawk that I dug right away, that went straight to the guts. But then there's plenty that took some detours through the brain, stuff the impressed me mightily from the git-go, but that took a while to sink in and be dug on a straight, emotional level. Then there's some stuff where the rhythmic stiffness (well, on the surface at least) puts me off somewhat and makes it difficult to dig in. But he definitely was an MF! And as if any more proof was needed, there's that Spotlite LP cover! WOW! I NEED THAT ONE, NOW!!! Got to look for it, that's for sure! Quote
EKE BBB Posted December 23, 2011 Report Posted December 23, 2011 (...)Then there's some stuff where the rhythmic stiffness (well, on the surface at least) puts me off somewhat and makes it difficult to dig in.(...) Hey, what's wrong with a couple of thousands of eighth notes in a row? Quote
cih Posted December 23, 2011 Report Posted December 23, 2011 (edited) I suspect I've been listening mostly to the Hawkins of a different era - I recognise what you guys are saying completely... but things from late thirties - 'Dinah'(1939), even up to something like 'Lover Come Back to me' from 1943 sound very swinging (the last one has some hints of the more difficult timing). But then from the same session as the latter there's 'Sweet Lorraine' which sounds very different already (more modern). I still think that the Coleman Hawkins of this era at least must be very easy to like. This quote from John Chilton kind of sums up what I hear: "There was something about Hawkins' playing and his stage presence that transcended the barriers that exist between an esoteric jazz artist and lay listeners. He made no effort to adjust his style and played undiluted jazz, yet he did so with such skill and fervour that he won over almost every audience". - (however that did relate to a mid thirties tour of Britain...) Edited December 23, 2011 by cih Quote
AllenLowe Posted December 23, 2011 Report Posted December 23, 2011 to me Hawk is beyond criticism - check out his stuff with the Randy Weston big band, late '50s. Scary shit. Quote
cih Posted December 23, 2011 Report Posted December 23, 2011 He and Monk were really my route out of the pre-war era in jazz (which might sound odd for someone in 2011) and into modernism Quote
king ubu Posted December 23, 2011 Report Posted December 23, 2011 True, cih - I started out with 50s and 60s albums... the ones I got right away include "Hawkins Encounters Webster" (the very first one I heard of either of them, when I was what... 13?), the one I still don't just enjoy on an emotional level is "The Genius of". The Impulse quartet album is another mighty fine one, but I don't just get it on any given day. Btw, I was in the movies tonight and they had Hawk on before... a wonderful version of "Carioca", which I just saw is on that "Body and Soul Revisited" GRP disc... I see that one's not part of the Mosaic, guess I ought to get it! Quote
king ubu Posted January 15, 2012 Report Posted January 15, 2012 I still need to find that Spotlite LP pictured above... but in the meantime, I got the Jasmine CD containing the full two 1963 Chicago broadcsts: Coleman Hawkins Live from the London House Chicago, Ill (Jasmine JASMCD 2521) Spinning it right now and Hawk is in fine shape! Quote
king ubu Posted January 28, 2012 Report Posted January 28, 2012 Don't know what form, if any, they're available now, but the four performances ("All the Things You Are," "Centerpiece," "Body and Soul," and "Just You, Just Me") that Hawkins played in Chicago at the Playboy Jazz Festival on Aug. 9, 1959, with Eddie Higgins, Bob Cranshaw, and Walter Perkins, are sublime and very intense. I have them on an LP, Spotlite 137. Happened to find and buy that one - side one is spinning right now, and it's intense indeed! Thanks for this great recommendation! And I absolutely love the cover photo! Wow! Quote
JSngry Posted January 28, 2012 Report Posted January 28, 2012 Actually(?) from 1969..about as late as it gets... Quote
king ubu Posted January 29, 2012 Report Posted January 29, 2012 Wow! Marvellous!http://www.youtube.com/watch?v=Bvly0fel4cY Same JATP concert with Benny Carter added, I assume?Btw, if this is from the same night as "Jazz at the Philharmonic in London, 1969", it's seems to be doubtful that the date is correct. It is questioned in Teddy Doerings biography of Hawkins (german language), the LP is listed following "Supreme" (Enja, rec. Left Bank Jazz Socity 65-09-25) and preceeding "Sirius" (Pablo, rec. 66-12-20). Makes more sense, but then I really don't know... Quote
king ubu Posted February 1, 2012 Report Posted February 1, 2012 What's the rap on this one? Got it several months on me and it kept growing - rather syrupy settings, Hawk mostly sticking to themes and embellishments, but hey! Quote
Swinging Swede Posted April 6, 2012 Report Posted April 6, 2012 Actually(?) from 1969..about as late as it gets... Wow! Marvellous! Btw, if this is from the same night as "Jazz at the Philharmonic in London, 1969", it's seems to be doubtful that the date is correct. Yes, Lord lists this as being from Royal Festival Hall, London, November 26, 1966. I have compared and it is the same performance. When this was released on Pablo, the date was erroneously given as March 1969, which apparently is why one of the YouTube video commenters gives that date. Quote
brownie Posted April 7, 2012 Report Posted April 7, 2012 What's the rap on this one? Got it several months on me and it kept growing - rather syrupy settings, Hawk mostly sticking to themes and embellishments, but hey! A chewy originated rap from a few years ago on this album: Greatest jazz lp of all time... Quote
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