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  Наименование CD :
   Body & Soul Revisited

Год издания : 1951/1958

Компания звукозаписи : Galactic, (ru)

Музыкальный стиль : Mainstream Jazz, Swing, Bop

Время звучания : 1:14:38

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Saxophone - Bop)      

Coleman Hawkins in the '50s

Hawkins had been the dominant tenor-saxophonist from the mid-'20s up until 1940, but even though he remained a major force, his influence was waning, due to the emergence of Lester Young and then Charlie Parker. By the early '50s he only recorded on an infrequent basis. Fortunately a few years later (partly due to the rise of Sonny Rollins whose original hero was Hawk), his fortunes were on the rise again. This Decca CD contains quite a variety of music. There are ten selections of melodic "mood" music from 1951-53 in which Hawkins mostly sticks to the melody (an exception is an excellent version of "If I Could Be with You"). Then the great tenor is heard in an occasionally exciting session with Cozy Cole's All-Stars; cornetist Rex Stewart steals the show with a couple of colorful solos. The best music on this CD is taken from a 1955 radio broadcast in which Hawkins plays "Foolin' Around" (based on the chords of "Body and Soul") totally unaccompanied and roars on "The Man I Love." This set concludes with three selections (one previously unissued) from a fine session led by clarinetist Tony Scott.

All Music Guide

========= from the cover ==========

The span of almost exactly seven years - from October 19, 1951 to October 13, 1958 - covered by these Coleman Hawkins recordings saw considerable changes in the fortunes of the undisputed father and plausible king of the tenor saxophone.

Consider that the two first cuts constitute the great man's entire studio output for 1951, while the 1958 session is one of more than a dozen from that year, including several as leader. The term "mainstream jazz" had been introduced early in the '50s by Stanley Dance to designate the still vilal music being made by the creative musicians of Hawkins' generation, who had been temporarily eclipsed by the rise of bebop and cool jazz. Before the end of the decade, it had come to mean something economically tangible.

Yet it is sobering to note the dearth that afflicted even Hawkins in the early '50s, for he was certainly an exception in generational terms. Almost alone (his friend Benny Carter was one of very few others) among accepted leaders in jazz, Hawk encouraged the young tyros of bop - and what's more, he employed them, giving Dizzy Gillespie his first full exposure on records as a player and composer-arranger and Thelonious Monk his first (and for several years to come, only) record date. Howard McGhee, Fats Navarro, Milt Jackson, J. J. Johnson, Miles Davis and Max Roach were among the other "youngsters" hired by Hawk, and later most of them remembered and reciprocated (for example Hawk's memorable appearance alongside John Coltrane on a Monk date for Riverside, produced by none other than Orrin Keepnews, compiler of this reissue, who also gave Hawk a date as leader in 1957).

Not thai Hawk's being out of the studios meant that he was out of work. He managed. One of the first times I saw him perform was at Birdland in 1950; he was at the bottom of a card headlined by Charlie Parker with Strings and Dizzy Gillespie, who had just had to dump his big band. And guess who was on trumpet in Hawk's group? A sharp little cat named Miles Davis. That same year I also caught Hawk at the Central Plaza, with Hot Lips Page on trumpet. Birdland and the traditionalist Central Plaza were some 50 Manhattan blocks apart, but the musical distance between them was infinitely greater. Hawk, however, was warmly received by both hoppers and moldy figs. Though only in his mid-40s, he was already a living legend. I think that even then he knew his time would come again. Meanwhile, he kept his big ears open to what was new and interesting, making use of what was compatible with his conception.

One thing decidedly not included was the lighter tenor sound introduced by Lester Young, which now ruled the roost. Hawk had developed his huge sound in the days prior to amplification, making himself heard above Fletcher Henderson's five brass and two other reeds in full cry, and he wasn't about to scale it down, even if he could have. He was, after all, a full-blown romantic, as we can hear on the first group of selections on this interestingly varied program.

What strikes the ear right away, of course, is that sound, which, combined with Hawk's innate mastery of phrasing, turns even a trifle like Sin into more than acceptable music. As he himself once put it: "Good phrasing is dependent on good breath control, but perhaps more than that it's the way you 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 ... To really improvise, a musician needs to know everything, not only his instrument, but harmony, composition, theory, the whole works."

To be sure, the first 10 cuts here, culled with care from a total of 16 made by Hawk for Decca during a span of 18 months, are "commercial"- that is, meant for the hipper end of the then thriving "mood music" market, and for juke box and airplay. Are things like Sin therefore to be considered sinful, as some serious critics hold? I think not. It's not just the history of popular music that's fraught with aesthetic compromises. In any case, what counts is the result, and there isn't a moment on these performances when Hawk isn't playing like he means it. Thus he makes Sin his own with that fine climax, sings the somewhat better melody (by jazz clarinetist Joe Marsala) of And So to Sleep (which has an interesting arranging touch when Hawk's tenor, leading, is scored in harmony with Cecil Payne's baritone - they sound like a whole reed section), responds well to the strings on Spellbound, where his creamy sound is close to what he had favored in the '30s, and brings further thoughts of that decade to mind on the best tune of the four. Jimmy McHugh's Lost in a Fog, which he had recorded on his first European session, in London in the spring of 1934. His treatment is appropriately nostalgic, and this is a superior sample of his justly acclaimed ballad mastery.

While the first Decca date saw Hawk surrounded by accomplished boppers, the second backs him with first-call studio players, among whom bassist Trigger Alpert (a Glenn Miller alumnus) stands out, not least on Carioca, where the strings are dispensed with, and Hawk puts a burr on his tone. Alpert is again on hand for the chromatics of Midnight Sun, with Bill Doggett's piano also much in evidence. Another highlight is If I Could Be with You, the James P. Johnson standard that Hawkins had recorded back in 1929 (as "One Hour" on the famous Mound City Blue Blowers session) - so long ago that the song was new and Hawk was making his first recorded ballad excursion. He is both relaxed and impassioned here, and there's an effective change of key. Here and on I Can't Get Started, which isn't as imaginative but shows off a particularly burnished low-register sound. Hawk is backed by an unidentified small group with a nice vibes player.

Neal Hefti (his name disguised, presumably for contractual reasons) is in charge of the accompaniment on the last two "commercial" items, both featuring tunes that were big hits in their day, both from films. I find the conga drum on Ruby less than helpful, but Hawk once again gives a lesson in melodic exposure. The Song from Moulin Rouge (also known as Where Is My Heart?) seems to appeal to him, perhaps because of his fondness for things French, and he milks it for all it's worth. Again, it's that sound that works wonders.

Next, a quite different setting: a near-forgotten mid-1950's session produced by George T. Simon for Enoch Light's Grand Award label, with Hawk's frequent recording companion, drummer Cozy Cole, as leader. There's a very compatible front line: Hawk's old Fletcher Henderson buddy, cornetist Rex Stewart, and the smooth trombonist Tyree Glenn; with a tasty rhythm section that looks odd on paper; veteran pianist-bandleader Claude Hopkins; ex-Herdsman and Tristanoite Billy Bauer, guitar; Armstrong All Stars bassman Arvell Shaw; and leader Cole, master of rudiments.

My Blue Heaven had been memorably recorded by Hawk in 1940; he has a fullblooded chorus here, his tone rougher now than a few years earlier. The evergreen Honeysuckle Rose had been a feature for Hawk and Rex with Henderson and they split a chorus here. Rex with plunger and in a good mood, Hawk sounding stem.

Organ Grinder's Swing, of Jimmie Lunceford fame, is opened up for Hawkins here in a groove that he first got into about this time. Tinged with R & B, it found him more deeply into the blues than ever before, no doubt a legacy from Charlie Parker, who showed everybody how you could (if you had the imagination) add all kinds of harmonic extensions to the blues yet remain idiomatic. His vehemence contrasts effectively with the Hopkins celeste opening. Rex growls menacingly and Tyree Glenn dons his patented plunger, but it's Hawk who breathes fire here, grumbling and snorting like a bear on the prowl.

Bauer's guitar blends nicely with the horns in the Perdido ensembles. Hawk, in a leonine mood, launches his solo with a break, takes two, and hollers some. Rex quotes a lot, whimsically (including "William Tell"), then gets into Louis. On Sweethearts on Parade, Hawk is well featured front and back. He must have thought about his old disciple, rival and friend Chu Berry, who became identified with this tune after recording it so brilliantly with Lionel Hampton. This version adopts the Hamp shuffle beat, and Hawk's on form, pushing the rhythm with great forward momentum. Rex takes his most serious solo of the lot here, with a stop-time bridge, even more into Armstrong. As a whole, this is a nice "swing" session, well worth resurrecting.

The next three items stem from a concert at Manhattan's Pythian Temple, then a Decca studio. (The building, with its imposing facade, still stands, but there's no music to be heard there any more.) The event was presided over by disc jockey Al "Jazzbo" Collins, and two of the cuts were issued in a Coral LP under his name. They are here reunited with the third, which was originally on a Brunswick compilation album long out of print. Gershwin's The Man I Love had been a Hawkins special since he recorded it as a 12-inch Signature disc in 1943. He takes it in long meter as he had done then, and he is supported by a marvelous rhythm section: Hank Jones, Wendell Marshall (Jimmy Blanton's cousin, and also an Ellingtonian), and the still-underrated Shadow Wilson. This is Hawk primed for his "comeback." He's into his 50s now, but ready to take on all comers, his big sound once again in fashion after the arrival of Sonny Rollins. Ideas, stamina, breath control are all in place here - not to mention swing.

In response to some verbal urging by Jazzbo, possibly impromptu but perhaps pre-arranged {and in any case not reproduced here). Hawk offers an unaccompanied number that was tagged Foolin' Around but to these ears sounds like variations on Hawk's personal anthem, Body and Soul. All by himself, he sounds marvelous in what obviously is a favorable acoustic environment, and he lets the notes linger. He follows with Time On My Hands - a beautiful Vincent Youmans ballad that shouldn't be done by anyone under 40. After a little fluff right at the start. Hawk just flows, fashioning a classic statement. This ranks with his finest; but I must confess that even as great a Hawkins fan as the writer of these notes had forgotten about this masterpiece, abetted by Hank Jones' impeccable accompaniment.

The final three pieces stem from a project masterminded by the mercurial clarinetist Tony Scott, dedicated to the fond memory of 52nd Street. Hawkins, of course, was one of the emblems of Swing Street, while Tony was one of its champion sitters-in. He was also, as can be seen here, good at picking sidemen - if these all-stars can be so labeled. On Ornithology, clarinet, tenor and trombone get a nice blend. Tommy Flanagan was his own man even then, with an already remarkable touch. Hawk's two choruses build; he's involved, doing what he always loved - playing with younger musicians and holding his own and then some. Knepper's solo is outstandingly fluent - almost saxophonistic lines on what is considered a cumbersome instrument. Tony's curiously convoluted yet coherent style is well demonstrated here. He's also much in evidence on Body and Soul, although this of course is Hawkins' property. For instance, he can be heard behind Hawk's understated, nostalgic halfchorus, which follows the clarinet intro. Tony takes the bridge, Flanagan the last eight, then it's Scott again, opening the second chorus. Hawk coming in on the bridge, sounding like the clarinetist's father (and I don't mean old fashioned, folks). The tenorist's final eight bars are masterful, like an extension of the 1944 "Rainbow Mist," itself an extension of the original 1939 Body and Soul. The cadenza is almost baroque, but played with lovely softness.

Finally, a find. The untitled fast blues, most probably concocted on the spot by Scott, is previously unissued - even unlisted - a Keepnews discovery that provides a fine, brusque ending to a most interesting musical journey. The two opening and two closing ensembles spot crisp fills by the pianist, and Knepper can be heard in the horn blend, but the only soloists are Scott, who takes eight somewhat skittish choruses, and Hawk, whose six add up to a splendid summary of his late '50s blues vocabulary - hear the fifth to learn how much he had absorbed from Bird.

(Producer's Note: The previously unknown blues was truly an accidental addition. Not even listed on available recording sheets - which led to the somewhat whimsical title I have arbitrarily given it - it turned up on the same small tape reel as Body and Soul, identified only by a consecutive master number. On listening, it immediately declared itself to belong to this record date.)

By late 1958, Hawk was back in the jazz mainstream. This was the year in which I first came to know him well, and I was present at the Scott session as his guest. Robust, energetic, competitive, and filled with appetite for life, he seemed indestructible then. And to be sure, there would be another seven years of continued creative primacy in that final decade of a remarkable career. Did I say "plausible" back in the opening paragraph of these notes? Please go back and cross it out; allow me to rephrase. Coleman Hawkins was without question the King of the Tenor Saxophone!

-Dan Morgenstern

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Наименование трека



   1 Sin (It's No)         0:03:02 George Hoven / Chester R Shull
   2 And So To Sleep Again         0:03:00 Joe Marsala David / Sonny Skylar
   3 Spellbound         0:03:07 Mack David / Miklos Rowa
   4 Lost In A Fog         0:03:09 Dorothy Fields / Jimmy McHugh
   5 Canoca         0:02:29 Gus Kahn /
   6 Midnight Sun     T       0:02:57 Lionel Hampton / Sonny Burke
   7 If I Could Be With You         0:03:14 'One Uour Tonight' - Henry Gershwin / Vernon Duke
   8 I Can't Get Started          0:02:58 Ira Gershwin / Wernon Duke
   9 Ruby          0:02:28 From The Motion Picture Ruby Gentry
Mitchell Parish / Heim Roemheld
   10 Song From Moulin Rouge         0:03:01 'Where Is Your Heart?' - George Aurick / William Engvick
   11 My Blue Heaven         0:03:01 Walter Donaldson / George Whiting
   12 Honeysuckle Rose          0:03:36 Andy Razaf / Thomas 'Fats' Waller
   13 Organ Grinder's Swing         0:03:09 Will Hudson
   14 Perdido         0:04:42 Juan Tizol
   15 Sweethearts On Parade         0:03:42 Charles Newman / Carmen Lombardo
   16 The Man I Love          0:07:02 George Gershwin / Ira Gershwin
   17 Foolin' Around         0:01:25 Coleman Hawkins
   18 Time On My Hands          0:05:39 Vincent Youmans / Harold Adamson / Mack Gordon
Getz, Raney, Jordan, Crow, Isola
   19 Ornithology         0:05:12 Charlie Parker / Benny Harris
   20 Body And Soul          0:04:25 Heyman / Sour / Eyton / Green
   21 Unlisted Blues         0:03:20 Uncknown


 T   'щелкнуть' - переход к тексту композиции.

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