COLEMAN HAWKINS - 1953-1954 | The Classics Chronological Series – 1416 (2006) FLAC (tracks+.cue), lossless

Following someone's career session by session reveals the best and the very worst in performance, repertoire, production, and general working conditions. The segment of Coleman Hawkins' time line beginning with the material he waxed for Al Benson's Parrot record label in Chicago during August of 1953 and ending halfway through his superb Jazztone All Stars date on November 8, 1954, is a case in point. At the end of the summer of 1953, Hawkins was working a steady gig at Chicago's Toast of the Town club. Accepting Benson's invitation to make records, Hawkins waded through a dozen titles, four of which would be released as 78 and/or 45-rpm singles, with "I'll Follow My Secret Heart" mistakenly entitled "I'll Follow My Sacred Heart." The remaining eight tracks from this date were eventually bought up by Savoy and issued on LP. Coleman Hawkins was a brilliant improviser, an archetype, and a gentleman. Surrounded by modestly able, well-intentioned players, he swung dutifully through this session, sounding as strong and sure as ever in less than optimum circumstances. Les Strand's boppish organ noodling casts a peculiar pallor over the proceedings, soon to be exacerbated by a weird vocal choir and an unidentified pianist who attempts to coax music out of a preposterous upright piano that sounds as though it had been dragged out of a broom closet at the last minute. The general effect might be compared with the kind of a malaise that could be brought on by cheap rye whiskey cut with lukewarm tap water. Following on the heels of this mess, the six tracks that close this portion of the Classics Coleman Hawkins chronology have the texture and flavor of gourmet cuisine and rare port wine. Flanked by trumpeter Emmett Berry and trombonist Eddie Bert and backed by Billy Taylor, Milt Hinton, and Jo Jones, Hawkins was able to relax and blow some honest jazz with his dignity intact. These recordings -- expanded to durations in excess of five and six minutes on the new LP format -- are especially valuable for the presence of Emmett Berry, a warm and gifted balladeer, as he demonstrates beautifully during nearly seven minutes devoted to "Out of Nowhere." arwulf arwulf    Tracklist + Credits :

GENE AMMONS – 1949-1950 | The Chronogical Classics – 1329 (2003) FLAC (tracks+.cue), lossless

This leg of the Gene Ammons chronology begins with two pretty vocals by Christine Chapman. Jug is in the background, offering emotional support through the tenor sax. These tidbits are soon forgotten as several powerful blowing sessions unfold. The lush, theatrical renditions of "Ev'rything Depends on You" and "When You're Gone" are thrilling examples of where the jazz ballad was at in 1949. The elegant boppish swing of "Hot Springs" is liberating. "Little Slam" eventually reveals itself as a reconstituted "King Porter Stomp." The next session is even better: "Pennies From Heaven" is all delicacy and beatitude. "The Last Mile," also known as "Rockin' Rocker," does an impressive slow grind on simple blues changes. "Cha-Bootie" is definitive swaggering Gene Ammons, full of soul. During "Full Moon" the band bursts all restraints and lunges forward with horns blazing. On March 5th 1960, Ammons started laying down thunder tracks for the Prestige label. "Bye Bye" sounds like "Soft Winds" with salt and Tabasco. Ammons leads a hand-clapping moralistic singalong called "Let It Be." That's Sonny Stitt blowing down a baritone sax. He comes round front, switches to tenor and duels with Ammons on "Blues Up and Down," a showpiece that would be revived by Johnny Griffin and Eddie "Lockjaw" Davis during the early 1960s. How cool it is to hear the original version of this two-sax workout, followed by a brisk "You Can Depend On Me"? Great rhythm section in Duke Jordan, Tommy Potter and "Kansas City" Jo Jones. Teddy Williams must have opened his mouth abnormally wide when he sang with this band. It's kind of outrageous, like he's doing Billy Eckstine impressions. On "Dumb Woman Blues" his chortling makes a bit more sense but he's still really loud and overbearing. For this kind of singing, Eddie "Cleanhead" Vinson would be preferable. The Prestige rendering of "Chabootie" is a marvel of precision. Stitt was a capable baritone player, and Art Blakey has appeared as a worthy successor for Jones. "Who Put the Sleeping Pills in Rip Van Winkle's Coffee?" is surprisingly stupid, and no amount of hot blowing can rescue the song from itself after Gene leads the band in a stilted singalong. The melody is a turkey, which explains why this track rarely appears on reissues. "Gravy" is immediately recognizable as "Walkin'," that great durable anthem of hard bop. Once again, Stitt's baritone is a bitch. "Easy Glide" sparkles with a vintage early-'50s show time arrangement, very theatrical. The disc closes out with four sides issued on the Chess label. While "Tenor Eleven" is pleasantly stimulating, Jug really finds himself in the ballad groove with the help of primitive reverb and maybe something else to steady the nerves and enhance his mood. Three ballads and you're out. arwulf arwulf       Tracklist + Credits :

COLEMAN HAWKINS - The Hawk Returns (1955-2001) RM | MONO | FLAC (tracks), lossless

This CD features Hawkins on a dozen selections (all around three minutes long) performing with an odd group (organ, piano, bass, drums and sometimes a vocal group). Despite the potentially commercial backing, he really digs into the tunes and creates some magic. Pity that this CD only lasts around 36 minutes. Scott Yanow
Tracklist :
1    Goin' Down Home 2:42
Ozzie Cadena
2    I'll Follow My Secret Heart 3:07
Noël Coward
3    On My Way 3:12     
Ozzie Cadena
4    I'll Tell You Later 3:01
Adam Brenner
5    What a Diff'rence a Day Made 3:16
Stanley Adams / María Mendez Grever
6    Last Stop 2:54
Ozzie Cadena
7    Should I? 3:07
Freed, Broun
8    Flight Eleven 2:57
A.M. Brunner
9    Modern Fantasy 3:01
A.M. Brunner
10    Confessin' 3:03
Neiburg, Daugherty, Reynolds
11    September Song 3:28
Weill, Anderson
12    You Can't Take That Away From Me 2:59
G & I Gershwin
Notas.
Recorded in Chicago, August - September 1953
Recording date and credits above according to Geerken, Hartmut & Trent, Chris (2015) - Omniverse Sun Ra: p177#16.
Back cover has Coleman Hawkins (ts), Boddy Smith (ds) with (p) (org) (b) (vo) (May 27, 1954).
Credits :
Guitar – Leo Blevins (pistas: 1 to 6)
Organ – Les Strand (pistas: 1 to 6)
Piano [Uncredited] – Sun Ra (pistas: 7 to 12)
Tenor Saxophone – Coleman Hawkins