{"id":6974,"date":"2021-03-28T15:48:18","date_gmt":"2021-03-28T15:48:18","guid":{"rendered":"https:\/\/www.mosaicrecords.com\/?page_id=6974"},"modified":"2021-10-21T17:17:54","modified_gmt":"2021-10-21T21:17:54","slug":"coleman-hawkins","status":"publish","type":"page","link":"https:\/\/www.mosaicrecords.com\/the-great-jazz-artists\/coleman-hawkins\/","title":{"rendered":"Coleman Hawkins"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”padding-1-percent” column_padding_tablet=”padding-2-percent” column_padding_phone=”inherit” column_padding_position=”all” background_color=”#000000″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_custom_heading text=”Coleman Hawkins” font_container=”tag:h1|text_align:center” use_theme_fonts=”yes”][vc_custom_heading text=”“Coleman Hawkins single-handedly created the idiom for the tenor saxophone in jazz“ – Loren Schoenberg” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][divider line_type=”No Line” custom_height=”175″][vc_column_text]\n
\u00a9\u00a0<\/strong>William P. Gottlieb Library of Congress<\/h6>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ background_image=”10151″ background_image_position=”center center” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”shadow-image-column col-height-600″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color=”#000000″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Coleman Hawkins<\/h1>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1622311090163{padding-right: 0px !important;padding-left: 0px !important;}”]\n

“Coleman Hawkins instantly established authority when he took the stage, before he had even played a note. Though short of stature, he was a handsome, solidly built man, impeccably dressed, with an aura that commanded respect. And once he began to play, his sound alone sufficed to seduce or arouse the listener, depending on the mood and spirit of the music being made”<\/em> – Dan Morgenstern, Living With Jazz<\/p>\n[\/vc_column_text][vc_column_text]By Loren Schoenberg
\n<\/strong>Before Coleman Hawkins came to maturity, Sidney Bechet and Adrian Rollini had already taken giant steps on the soprano and bass saxophones respectively, establishing the idea that the saxophone could be used to make great jazz. It was left to Coleman Hawkins to process the innovations of Louis Armstrong<\/span><\/a> in an intensely personal way, and fashion out of them his own voice.<\/p>\n

There are very few musicians in any genre who remain protean figures for as long as Coleman Hawkins did. When he gave up the cello for the saxophone in the early 1920s, not only was his chosen instrument considered a joke at best, there was as yet no model for coherent jazz improvisation.<\/p>\n

Miraculously, at the age of 35 he would have a hit recording, Body And Soul, that remains one of the most sophisticated and challenging items ever to come remotely near the bestseller\u2019s list. And by the age of 59 Coleman Hawkins would more than hold his own in studio encounters with John Coltrane<\/a><\/span> and Sonny Rollins \u2013 both of whose careers would have been unimaginable without Coleman Hawkins\u2019 precedent.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Body & Soul
\nOctober 1939<\/h2>\n

Coleman Hawkins and His Orchestra: Tommy Lindsay, Joe Guy (tp), Earl Hardy (tb), Jackie Fields, Eustis Moore (as), Coleman Hawkins (ts, arr), Gene Rodgers (p, arr), Oscar Smith (b), Art Herbert (d), Thelma Carpenter (vcl), Hazel Scott (arr).<\/em><\/p>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=LuNrVHCBSjE” el_width=”60″ align=”center”][vc_column_text]\n

No matter how nonchalantly Coleman Hawkins tried to make the choice to record Body And Soul seem, it had long been his encore during his European years, and he had a lot riding on this session. Lester Young<\/a> was at his zenith with the Basie big band<\/a><\/span>, and virtually all of the other major bands had a Hawkins-styled tenor in a featured position.<\/p>\n

The decades as a musical omnivore came to fruition as Coleman Hawkins signaled to pianist Gene Rodgers to make an introduction in Db. The sounds of Bach, Tatum, Armstrong<\/a>, and the untold musicians who had filled his head and ears culminated in one of the greatest spontaneous set of variations ever recorded. – Loren Schoenberg<\/p>\n[\/vc_column_text][vc_zigzag el_width=”60″][image_with_animation image_url=”8078″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text]\n

\u00a9 William P. Gottlieb Library of Congress<\/h6>\n[\/vc_column_text][vc_column_text]Coleman Hawkins was born in St. Joseph, Missouri, on November 21st, 1904. Young Coleman Hawkins was given classical music lessons on the cello and he continued to play the cello through his adolescent years but doubled on the C-melody saxophone with local dance bands.<\/p>\n

Vaudevillian Mamie Smith came through Kansas City on a tour, supplementing her band with local musicians. The 16-year-old Coleman Hawkins immediately impressed her with his skills at both reading music and improvisation. The following year on the road with Smith\u2019s troupe gave Coleman Hawkins a life\u2019s worth of professional and personal lessons.<\/p>\n

He soon came to the attention of bandleader Fletcher Henderson. The early 1920s was a burgeoning time for jazz, and a virtuoso like Hawkins could make an excellent living by freelancing in nightclubs, playing theatre dates and recording. Henderson was eventually able to offer Coleman Hawkins full-time employment, and the saxophonist remained a featured member of the band for a decade.<\/p>\n

The arrival of Louis Armstrong<\/span><\/a> in the Henderson band in late 1924 for a year-long stint was to have a profound impact on the music world in general and on the 20-year-old Coleman Hawkins in particular. Hawkins was one of the first jazz artists<\/span><\/a> to begin transforming Armstrong\u2019s example into personal terms, but it would be a lengthy process. – Loren Schoenberg, liner note excerpt Mosaic Records: Classic Coleman Hawkins Sessions 1922-1947<\/em>[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Hawk Variations
\nSolo Session<\/h2>\n

Probably January 1945<\/p>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1633560945542{padding-right: 0px !important;padding-left: 0px !important;}”]Given his love of Bach and Pablo Casals and his own unquenchable thirst for self-expression, it was inevitable that Coleman Hawkins would move towards solo performances.<\/p>\n

During his European jaunt, he began surrounding his songs with unaccompanied introductions and codas. For all we know, he may have been doing this in theaters as far back as the Mamie Smith days.<\/p>\n

Harry Lim, a Javanese jazz lover who came to America in 1939, first produced jam sessions in Chicago and New York and then founded Keynote Records, a premier small jazz label. In an article for Metronome magazine in May, 1944, Lim dubbed Coleman Hawkins the Picasso of Jazz.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=8QuUNVGBnkY” el_width=”60″ align=”center”][vc_column_text]\n

The Picasso of Jazz<\/h2>\n

Harry Lim; Metronome magazine May 1944
\n<\/em>“For an amazing number of years, Coleman Hawkins has been among the style-setters, not only for tenor-saxists, but for all horn players. This he accomplished by keeping ahead of the times, by going through several phases of self-imposed style changes, and with an inborn musical genius which is rare in any musician.<\/p>\n

In my estimation Coleman Hawkins stands alone as the finest and most important individual musician on today\u2019s jazz scene, irrespective of instrument. That is true, I think, even taking into consideration the present-day playing capabilities of men like Benny Goodman, Teddy Wilson and a few others, whom we consider the greatest and most significant musicians as far as the present and future of jazz are concerned…<\/p>\n

The most amazing thing about this man is the fact that he rises above his surroundings. He can be put with the worst rhythm section in the world and yet play some of the most magnificent stuff ever heard\u2026Hawk develops his choruses as a logical sequence of beautiful phrases. The second chorus follows the first one naturally. This then, friends, is the difference between Coleman Hawkins and an ordinary \u201cchorus blower\u201d whose ninth chorus has absolutely no relation to the tenth.<\/p>\n

Many critics who cling so desperately to the old \u201cpure Fletcher Henderson Hawk\u201d complain about the reedy buzz tone he has been using since coming back from Europe, but Hawk uses this device only as a climatic effect, this in contrast to his imitators, who use it till they empty the joint in which they\u2019re playing.<\/p>\n

You can take this for a fact: Hawk is a jazz musician<\/span><\/a> who is still continuously advancing his playing, whose harmonic ideas become more daring with every subsequent recording date. In fact, the time has come when a jazz musician of Hawkins\u2019 status should be taken in hand by a prominent concert promoter and a serious concert tour be mapped out for him. When an American composer, familiar with jazz and the classics both, should write a modern concerto for tenor sax and orchestra with Coleman Hawkins in mind.<\/p>\n

He\u2019s an ardent classical music fan, has a fine personal music library of classical discs. On a recording session we had not so long ago he confided to me that he would like to make an unaccompanied solo record, on the order of the cello records of Pablo Casals.<\/p>\n

Yes, it is with musicians like Coleman Hawkins that the future of jazz lies\u201d.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Coleman Hawkins
\nLive Performance 1935<\/h2>\n

Accompanied by pianist Leo de la Fuente, Coleman Hawkins announces and plays “I Wish That I Were Twins”. Filmed at Pulchri Studio, Lange Voorhout, The Hague, Netherlands.<\/p>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=cNpvnIY7JhU” el_width=”60″ align=”center”][vc_column_text]\u201cIt was unnerving how intently Coleman Hawkins could listen. You\u2019d be playing and suddenly you\u2019d be aware of someone standing off to your right. If you looked over, you\u2019d see him with his arms folded and his head down just a little, watching and listening to everything. He did that for as long as I knew him.\u201d<\/em>
\nGeorge Duvivier[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Coleman Hawkins
\nSelected Jazz Albums<\/span><\/h2>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=q4Xh0tbsdKE” el_width=”60″ align=”center”][tabbed_section style=”default” alignment=”left” spacing=”default” tab_color=”Accent-Color”][tab icon_family=”none” title=”Description” id=”1634850718963-4″ tab_id=”1634850718966-6″][vc_column_text]By Scott Yanow<\/strong><\/p>\n

Classic Coleman Hawkins Sessions 1922-1947 (8 CDs)<\/h3>\n[\/vc_column_text][vc_column_text]Despite being a very technically skilled musician and an expert sight-reader, Hawkins did not really come into his own until 1924-25. By then he had followed up his stint with Smith by joining the new Fletcher Henderson Orchestra in 1923. His early playing on recordings are often full of colorful effects but All of that changed after Louis Armstrong joined Henderson in mid-1924, showing Hawkins and the other musicians that one should \u201ctell a story\u201d in their playing.<\/p>\n

The eight-CD Mosaic set, which contains most of Hawkins\u2019 more significant recordings of 1922-47, features the tenor evolving quickly with the times. After one representative selection with Mamie Smith, Hawkins is heard on his finest recordings from his decade (1924-34) with the Fletcher Henderson Orchestra including 1926\u2019s \u201cThe Stampede.\u201d Hawkins\u2019 statement on that piece is considered the first major recorded tenor solo.<\/p>\n

The set contains Hawkins\u2019 contributions to many all-star groups, and his stunning playing on Dec. 23, 1943 with pianist Eddie Heywood, bassist Oscar Pettiford, and drummer Shelly Manne that resulted in a hard-swinging and extended version of \u201cThe Man I Love.\u201d Also included is Hawkins leading some bebop sessions and taking the first unaccompanied tenor-sax solo ever recorded (not counting a brief warm-up by Gene Sedric a few years earlier that was privately taped). On the two-part \u201cHawk\u2019s Variation\u201d from 1945, which precedes his more famous \u201cPicasso\u201d from 1948, Hawkins plays quite freely, sounding nothing like the tenor player who had debuted with Mamie Smith 24 years earlier.[\/vc_column_text][\/tab][tab icon_family=”none” title=”Discography” id=”1634850719237-9″ tab_id=”1634850719238-9″][vc_column_text]\n

\n
\n

Discography<\/span><\/strong><\/p>\n

The vision of this set is to present selected Coleman Hawkins <\/a>recordings mainly from the 1930s and 1940s as originally recorded on labels currently owned by Sony Music (Banner, Bluebird, Brunswick, Cameo, Clarion, Columbia, Conqueror, Domino, Harmony, Lincoln, Melotone, OKeh, Oriole, Perfect, Romeo, Signature, Velvet Tone, Victor, Vocalion and \u201cX\u201d).<\/p>\n

We have also included sessions that currently have no ownership and are in the public domain (Baronet, Ca-Song, Continental, Manor and Regis). The criteria for admission then fell on all recordings led by Hawkins in addition to sessions where as a sideman for other bands he solos for more than 16 bars.<\/p>\n

However, in some cases, there will be a stretching of the boundaries. For example, Among My Souvenirs from Session (QQ) has a short Hawkins solo but is retained so that the session can be presented in its entirety. And Cloudy Skies is only a paraphrase of the melody by Hawkins but is included here to keep the entire session intact. Within this concept, representative samplings of titles from the \u201820s add as a springboard to this package. Hawkins\u2019 European recordings from the \u201830s are owned by EMI and therefore have not been added to this package.<\/p>\n

For the purposes of this discography, only the first issue number of each matrix is listed unless contemporaneous issues exist. The personnel and instrumentation reflect only the titles represented in this set and not the entire session.<\/p>\n

To the best of our knowledge, this discography is presented in the order in which each take was recorded. However, the CDs contained in this set are sequenced with the master take first and then any alternates at the conclusion of the disc. An exception to this rule is found in Session (EEE) and is explained in the Producer\u2019s Note at the end of this discography. Any sides that have been listed in discographies but are missing from the vaults or possibly in private collections are listed as unissued, master no longer exists.<\/p>\n

This discography is compiled from the following reference materials: Hendersonia by Walter C. Allen (self published), Benny Carter: A Life In American Music by Morroe Berger, Ed Berger and James Patrick (Scarecrow Press), The Tenor Saxophone Of Coleman Hawkins 1929-1942 by Jan Evensmo (self published), The Jazz Discography by Tom Lord (Cadence Jazz Books), Jazz Records 1897-1942 (Fifth Edition) by Brian Rust (Storyville), Jimmy Dorsey: A Study In Contrasts by Robert L. Stockdale (Scarecrow Press) and Coleman Hawkins Volume I 1922-1944 and Coleman Hawkins Volume II 1945-1967 by Jean-Francois Villetard (Micography).<\/p>\n

Label abbreviations: Ban for Banner, BB for Bluebird, Br for Brunswick, Cam for Cameo, Cl for Clarion, Col for Columbia, Cq for Conqueror, Cont for Continental, Dom for Domino, Har for Harmony, Lin for Lincoln, Mel for Melotone, OK for OKeh, Or for Oriole, Par for Parlophone, Per for Perfect, RCA Vic for RCA Victor, Ro for Romeo, Sig for Signature, VT for Velvet Tone, Vic for Victor, Voc for Vocalion.<\/p>\n

Country codes: (C) for Canada, (D) for Denmark, (E) for England, (F) for France, (G) for Germany, (J) for Japan, (Sd) for Sweden.
\n________________________________________________________________________
\n(A) MAMIE SMITH AND HER JAZZ HOUNDS: poss. Johnny Dunn, unknown (tp), unknown (tb), Ernest Elliott (cl), Coleman Hawkins (ts), poss. George Bell (vln), poss. Harvey Brooks (p), unknown (woodblocks), Mamie Smith (vcl).
\nNYC, December 20, 1922
\nS-71-112-B I\u2019m Gonna Get You OK 4781<\/p>\n

Note: Part of the personnel sighted above comes from Bubber Miley discographers Bo Scherman, G\u00f6ran Eriksson, Nils-Gunnar Anderby and G\u00f6ran Wall\u00e9n who have amended prior discographical errors in regards to this session. Both Miley and cornetist and trumpeter Joe Smith have been noted as being on this session.
\n________________________________________________________________________
\n(B) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers (cor), prob. Teddy Nixon (tb), Don Redman (cl), Coleman Hawkins (ts), Fletcher Henderson (p), Charlie Dixon (bjo), poss. Billy Fowler (bass sax), prob. Kaiser Marshall (d), Raymond Mathews (arr).
\nNYC, September 13, 1923
\n81211-3 Dicty Blues (RM-arr) Col A3995
\n________________________________________________________________________
\n(C) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Howard Scott (cor), Charlie Green (tb), Don Redman (cl, as), Coleman Hawkins (ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d), William C. Polla (arr).
\nNYC, September 8, 1924
\n81981-3 He\u2019s The Hottest Man In Town (WCP-arr) Col 209-D
\n________________________________________________________________________
\n(D) FLETCHER HENDERSON AND HIS ORCHESTRA: Russell Smith, Joe Smith (tp), Rex Stewart (cor), Benny Morton (tb), Don Redman (cl, as, arr), Buster Bailey (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
\nNYC, May 14, 1926
\nw142205-3 The Stampede (DR-arr) Col 654-D
\n________________________________________________________________________
\n(E) FLETCHER HENDERSON\u2019S ORCHESTRA: Russell Smith, Joe Smith, Tommy Ladnier (tp), Jimmy Harrison, Benny Morton (tb), Don Redman (cl, as, arr), Buster Bailey (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), June Cole (tu), Kaiser Marshall (d).
\nNYC, April 27, 1927
\nBVE 38496-1 St. Louis Shuffle (DR-arr) AFRS #64 (ET)
\nBVE 38496-2 St. Louis Shuffle (DR-arr) Vic 20944
\nBVE 38496-3 St. Louis Shuffle (DR-arr) BB 10246<\/p>\n

Note: The first issue of -1 came out on a 16\u201d transcription disc and commercially on \u201cX\u201d EP (EVA 1) and LP (LVA 3013).
\n________________________________________________________________________
\n(F) FLETCHER HENDERSON & HIS ORCHESTRA: Same as (E) except add Fats Waller (p).
\nNYC, May 11, 1927
\nw144132-2 Whiteman Stomp (DR-arr) Col 1059-D
\n________________________________________________________________________
\n(G) THE DIXIE STOMPERS: Russell Smith, Tommy Ladnier (tp), Jimmy Harrison (tb), Buster Bailey, Jerome Don Pasquall (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Don Redman, Jack Purvis (arr).
\nNYC, October 24, 1927
\n144897-2 Goose Pimples (poss. DR-arr) Har 545-H, Diva 2545-G, VT 1545-V
\n144898-2 Baltimore (JP-arr) Har 526-H, Diva 2526-G, VT 1526-V<\/p>\n

Note: It has been suggested that Fletcher Henderson is not the pianist on Goose Pimples.
\n________________________________________________________________________
\n(H) CLARENCE WILLIAMS JAZZ KINGS: Ed Allen (cor), Ed Cuffee (tb), Buster Bailey (cl, as), Coleman Hawkins (cl, ts), Clarence Williams (p), LeRoy Harris (bjo), Cyrus St. Clair (tu).
\nNYC, January 12, 1928
\nw145521-1 Dreaming The Hours Away Col 14287-D
\n________________________________________________________________________
\n(I) FLETCHER HENDERSON AND HIS ORCHESTRA: Russell Smith, Joe Smith, Bobby Stark (tp), Jimmy Harrison, Benny Morton (tb), Buster Bailey, Jerome Don Pasquall (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), June Cole (tu), Kaiser Marshall (d).
\nNYC, March 14, 1928
\nw145763-3 King Porter Stomp Col 1543-D<\/p>\n

Note: This early version of King Porter Stomp is a head arrangement based on ideas by Coleman Hawkins.
\n________________________________________________________________________
\n(J) THE DIXIE STOMPERS: Rex Stewart (cor), Bobby Stark (tp), Charlie Green (tb), Buster Bailey (cl), Coleman Hawkins (ts), Fletcher Henderson (p), Charlie Dixon (bjo), Jerome Don Pasquall (bass sax), Kaiser Marshall (d), Maceo Pinkard (arr).
\nNYC, April 6, 1928
\n145977-2 I\u2019m Feelin\u2019 Devilish
\n(Oh By Golly Oh) (MP-arr) Har 974-H, Diva 2974-G,
\nVT 1974-V
\n________________________________________________________________________
\n(K) HENDERSON\u2019S ROSELAND ORCHESTRA: Rex Stewart (cor), Bobby Stark (tp), Jimmy Harrison, poss. Charlie Green (tb), Buster Bailey, Harvey Boone (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Clarence Holiday (bjo), poss. Del Thomas (tu), Benny Carter (arr).
\nNYC, c. April 1929
\n3799-A Raisin\u2019 The Roof (BC-arr) Cam 9175, Lin 3202, Ro 977
\n________________________________________________________________________
\n(L) FLETCHER HENDERSON & HIS ORCHESTRA: Rex Stewart (cor), Russell Smith, Bobby Stark (tp), Jimmy Harrison, prob. Charlie Green (tb), Harvey Boone, poss. Arville Harris (cl, as), Coleman Hawkins (ts), Fletcher Henderson (p), Clarence Holiday (bjo), poss. Del Thomas (tu), Kaiser Marshall (d), Benny Carter (arr).
\nNYC, May 16, 1929
\nw148540-2 Blazin\u2019 (BC-arr) Col 1913-D
\nw148541-3 The Wang-Wang Blues (BC-arr) \u2013
\n________________________________________________________________________
\n(M) MCKINNEY\u2019S COTTON PICKERS: Joe Smith, Sidney DeParis, Leonard Davis (tp), Claude Jones (tb), Benny Carter (as), Don Redman (as, vcl, arr), Coleman Hawkins, Ted McCord (ts), Fats Waller (p), Dave Wilborn (bjo), Billy Taylor (tu), Kaiser Marshall (d).
\nNYC, November 7, 1929
\nBVE 57140-3 Wherever There\u2019s A
\nWill, Baby (DR-vcl, arr) RCA (J) RA-47 (LP)
\nBVE 57140-2 Wherever There\u2019s A
\nWill, Baby (DR-vcl, arr) Vic 22736
\n________________________________________________________________________
\n(N) MOUND CITY BLUE BLOWERS: Glenn Miller (tb), Pee Wee Russell (cl), Coleman Hawkins (ts), Eddie Condon (bjo), Jack Bland (g), Pops Foster (b), Gene Krupa (d), Red McKenzie (comb).
\nNYC, November 14, 1929
\nBVE 57145-3 Hello Lola Vic V38100
\nBVE 57146-3 One Hour \u2013<\/p>\n

Note: Metal parts and test pressings exist with -1R shown as the take letter, however, they all play the same as -3.<\/p>\n

Although Pops Foster has been listed as the bassist in prior discographies, Eddie Condon claimed it was actually Al Morgan. However, Dan Morgenstern has suggested that Condon probably believed the bassist to be Morgan because he was on the second Red McKenzie date with Hawkins. Since Morgan is definite for a Jones-Collins Astoria Hot Eight record date in New Orleans the day before, it is highly doubtful he made it to New York to record this session
\n________________________________________________________________________
\n(O) FLETCHER HENDERSON & HIS ORCHESTRA: Rex Stewart (cor), Russell Smith, Bobby Stark (tp), Jimmy Harrison, Claude Jones (tb), Benny Carter (cl, as), Harvey Boone (as), Coleman Hawkins (ts), Fletcher Henderson (p), Clarence Holiday (g), John Kirby (b), Walter Johnson (d), John Nesbitt (arr).
\nNYC, October 3, 1930
\nw150857-1 Chinatown, My Chinatown (JN-arr) Col 2329-D
\n________________________________________________________________________
\n(P) FLETCHER HENDERSON & HIS ORCHESTRA: Same as (O) except Kirby (tu).
\nNYC, December 2, 1930
\nw150998-2 What Good Am I Without You? Col 2352-D
\n________________________________________________________________________
\n(Q) CHOCOLATE DANDIES: Rex Stewart (cor), Jimmy Harrison (tb, vcl), Benny Carter (as, vcl, arr), Coleman Hawkins (ts), Horace Henderson (p), prob. Clarence Holiday (g), John Kirby (b).
\nNYC, December 4, 1930
\nw404566-A Goodbye Blues (BC-vcl, arr) Par (E) R 882
\n________________________________________________________________________
\n(R) THE CHOCOLATE DANDIES -1 \/ CHOCOLATE DANDIES -2: Same as (Q) except Bobby Stark (tp) replaces Stewart; Carter doubles on clarinet and trumpet; Kirby (tu).
\nNYC, December 31, 1930
\nw404596-B Cloudy Skies (BC-arr) -1 Par (E) R 1273
\nw404597-B Got Another Sweetie Now (JH-vcl) (BC-arr) -1 Par (E) R 963
\nw404598-B Bugle Call Rag (BC-arr) -2 Col 2543-D
\nw404599-B Dee Blues (BC-arr) -2 \u2013<\/p>\n

Note: Listed on the label of both sides of Columbia 2543-D are control numbers w151823-1 for Bugle Call Rag and w151824-1 for Dee Blues.
\n________________________________________________________________________
\n(S) FLETCHER HENDERSON & HIS ORCHESTRA: Rex Stewart (cor), Russell Smith, Bobby Stark (tp), Jimmy Harrison (tb, vcl), Claude Jones (tb), Benny Carter (cl, as, arr), Harvey Boone (as), Coleman Hawkins (ts), Fletcher Henderson (p), Clarence Holiday (bjo), John Kirby (tu), Walter Johnson (d), Lois Deppe (vcl).
\nNYC, February 5, 1931
\nw151276-2 My Pretty Girl (LD-vcl) (BC-arr) Col 2586-D
\nw151277-2 Sweet And Hot (JH-vcl) (BC-arr) Col 2414-D<\/p>\n

Note: Sweet And Hot is a stock arrangement written by Archie Bleyer and re-worked by Benny Carter.
\n________________________________________________________________________
\n(T) FLETCHER HENDERSON & HIS ORCHESTRA: Rex Stewart (cor), Russell Smith, Bobby Stark (tp), Claude Jones, Benny Morton (tb), Russell Procope, Harvey Boone (cl, as), Coleman Hawkins (cl, ts, bari), Fletcher Henderson (p, arr), Clarence Holiday (g), John Kirby (tu), Walter Johnson (d), Bill Challis, Don Redman, Horace Henderson (arr).
\nNYC, March 19, 1931
\nw151441-2 Clarinet Marmalade (BCh-arr) Col 2513-D
\nw151442-2 Sugar Foot Stomp (FH\/DR-arr) \u2013
\nw151442-1 Sugar Foot Stomp (FH\/DR-arr) \u2013
\nw151443-1 Hot And Anxious -1 (HH-arr) Col 2449-D<\/p>\n

-1 Horace Henderson (p) replaces Henderson.<\/p>\n

Note: Columbia 2449-D as BALTIMORE BELL HOPS.
\n________________________________________________________________________
\n(U) CONNIE\u2019S INN ORCHESTRA: Same as (T).
\nCamden, NJ, April 29, 1931
\nSupervised by Eli Oberstein
\nBRC 53066-2 Sugar Foot Stomp (FH\/DR-arr) \u201cX\u201d EVA-2 (EP), LVA-3013 (LP)
\nBRC 53066-1 Sugar Foot Stomp (FH\/DR-arr) Vic 22721<\/p>\n

Note: The alternate take (-2) of Sugar Foot Stomp is misidentified as being issued on 78 in the discography of the Bluebird LP The Complete Fletcher Henderson 1927-1936.
\n________________________________________________________________________
\n(V) MOUND CITY BLUE BLOWERS: Muggsy Spanier (cor), Jimmy Dorsey (cl), Coleman Hawkins (ts), Jack Russin (p), Eddie Condon (bjo), Jack Bland (g), Al Morgan (b), Frank \u201cJosh\u201d Billings (perc), Red McKenzie (vcl, comb).
\nNYC, June 30, 1931
\nw404966-C Georgia On My Mind (RM-vcl) Cl 5389-C, Har 1375-H,
\nOK 41515, VT 2453-V
\nw404967-B I Can\u2019t Believe That You\u2019re
\nIn Love With Me (RM-vcl) Same issues as matrix 404966
\nw404994-A Darktown Strutters Ball (RM-vcl) Cl 5392-C, Har 1378-H,
\nOK 41526, VT 2456-V
\nw404995-A You Rascal You (RM-vcl) Same issues as matrix 404994<\/p>\n

Note: The Clarion, Harmony and Velvet Tone releases as TENNESSEE MUSIC MEN and the vocal credit for Red McKenzie as \u201cKing & King\u201d on You Rascal You and as \u201cJack King\u201d on the remaining titles. The OKeh releases as \u201cwith vocal refrain\u201d.<\/p>\n

The Clarion, Harmony and Velvet Tone releases all list control numbers on the label and not the regular matrix number. Listed is w351051 for Georgia On My Mind, w351049 for I Can\u2019t Believe That You\u2019re In Love With Me, w351052 for Darktown Strutters Ball and w130482 for You Rascal You.<\/p>\n

Jimmy Dorsey is listed in discographies as playing alto saxophone on this session, however, aural evidence suggests he only plays clarinet.
\n________________________________________________________________________
\n(W) FLETCHER HENDERSON AND HIS CONNIE (sic) INN ORCHESTRA: Rex Stewart (cor), Bobby Stark (tp), Claude Jones (tb), Russell Procope (cl, as), Edgar Sampson (as, vln), Coleman Hawkins (ts), Fletcher Henderson (p), Clarence Holiday (g), John Kirby (tu), Walter Johnson (d, bells), Dick Robertson (vcl), Archie Bleyer (arr).
\nNYC, July 31, 1931
\nBRC 70140-1 Oh, It Looks Like Rain (DR-vcl) (AB-arr) Vic 22786
\nBRC 70141-1 Sweet Music (DR-vcl) Vic 22775
\nBRC 70143-1 Malinda\u2019s Weddin\u2019 Day (DR-vcl) \u2013
\n________________________________________________________________________
\n(X) FLETCHER HENDERSON & HIS ORCHESTRA: Rex Stewart (cor), Russell Smith, Bobby Stark (tp), J.C. Higginbotham (tb), Russell Procope (cl, as), Edgar Sampson (as), Coleman Hawkins (ts), Fletcher Henderson (p), Clarence Holiday (g), John Kirby (tu), Walter Johnson (d, bells), Les Reis (vcl), Frank Skinner (arr).
\nNYC, October 15, 1931
\n151846-3 It\u2019s The Darndest Thing (LR-vcl) (FS-arr) Col 2565-D
\n________________________________________________________________________
\n(Y) FLETCHER HENDERSON & HIS ORCHESTRA: Rex Stewart (cor), Russell Smith, Bobby Stark (tp), J.C. Higginbotham (tb), Russell Procope (as), Edgar Sampson (as), Coleman Hawkins (ts), Fletcher Henderson (p), Clarence Holiday (g), John Kirby (tu), Walter Johnson (d), Archie Bleyer (arr).
\nNYC, October 16, 1931
\nw151851-1 Business In F (AB-arr) Col 2615-D
\n________________________________________________________________________
\n(Z) FLETCHER HENDERSON AND HIS ORCHESTRA: Rex Stewart (cor), Russell Smith, Bobby Stark (tp), J.C. Higginbotham, Sandy Williams (tb), Russell Procope, Edgar Sampson (as), Coleman Hawkins (ts), Fletcher Henderson (p), Clarence Holiday (g), John Kirby (b), Walter Johnson (d, bells), John Dickens, Harlan Lattimore (vcl).
\nNYC, March 10, 1932
\nBSHQ 71938-1 Strangers (JD-vcl) Vic 22955
\nBSHQ 71942-1 I Wanna Count Sheep
\n(Till The Cows Come Home) (HL-vcl) \u2013<\/p>\n

Note: The German RCA Victor LP LPM 10121 (Fletcher Henderson And His Orchestra 1927-1934) claims that matrix 71938-2 is an unissued take, however, it is actually -1 with the vocal spliced out.
\n________________________________________________________________________
\n(AA) CONNIE\u2019S INN ORCHESTRA: Rex Stewart (cor), probably Leora Henderson, Bobby Stark (tp), J.C. Higginbotham, Sandy Williams (tb), Russell Procope (cl, as), Edgar Sampson (as), Coleman Hawkins (ts), Fletcher Henderson (p, arr), Clarence Holiday (g), John Kirby (tu, b), Walter Johnson (d), Harlan Lattimore (vcl), Gene Gifford (arr).
\nNYC, March 11, 1932
\nSupervised by Justin Ring
\nB11445-A Casa Loma Stomp (GG-arr) Ban 32701, Dom 113,
\nMel M12340, Or 2654,
\nPer 15738
\nB11446-A Blue Moments (FH-arr) unissued, test exists
\nB11446-B Blue Moments (FH-arr) Col C4L 19 (LP)
\nB11447-B How Am I Doin\u2019, Hey Hey (HL-vcl) unissued, test exists
\nB11447-A How Am I Doin\u2019, Hey Hey (HL-vcl) Ban 32440, Or 2466,
\nPer 15603, Ro 1839<\/p>\n

Note: A test pressing exists of B11445-B, but it plays the same as the master take (-A).<\/p>\n

Matrices B11446 and B11447 were to be released on Melotone M12368, however, this 78 was never issued.<\/p>\n

According to the ARC ledgers the original or alternate title of Blue Moments was Nostalgias.<\/p>\n

For matrix B11447, there is a bogus matrix number (11744 is shown in the wax and label) on all releases, however, it is only a dub of the master take (-A). Numerals appearing after this fake matrix are stamper numbers and not different take numbers.<\/p>\n

An alternate take exists for both Blue Moments and How Am I Doin\u2019, Hey Hey, however, they were unavailable for us to include in this package.<\/p>\n

Although Blue Moments is listed as -A in the liner notes of Columbia C4L 19, this version is actually an edited, sped-up version of -B and not an alternate take.<\/p>\n

Banner 32701, Domino 113, Oriole 2654 and Perfect 15738 as LOUISIANA RHYTHMAKERS. Banner 32440, Oriole 2466, Perfect 15603 and Romeo 1839 as DUKE WILSON & HIS TEN BLACKBERRIES.
\n________________________________________________________________________
\n(BB) FLETCHER HENDERSON AND HIS ORCHESTRA: Rex Stewart (cor), Russell Smith, Bobby Stark (tp), J.C. Higginbotham, Sandy Williams (tb), Russell Procope, Hilton Jefferson (as), Coleman Hawkins (ts), Fletcher Henderson (p, arr), Freddie White (g), John Kirby (b), Walter Johnson (d), Katherine Handy (vcl).
\nNYC, December 9, 1932
\nSupervised by John Hammond
\n152324-1 Honeysuckle Rose (FH-arr) Col 2732-D
\n152325-1 New King Porter Stomp (FH-arr) Col (E) CB 701, OK 41565
\n152326-1 Underneath The Harlem Moon
\n(KH-vcl) (FH-arr) Col 2732-D
\nNote: Columbia (E) CB 701 as King Porter Stomp.
\n________________________________________________________________________
\n(CC) HAWKINS ORCHESTRA: Henry Allen (tp), Dickie Wells (tb), Russell Procope (cl), Coleman Hawkins (ts), Don Kirkpatrick (p), Bernard Addison (g), John Kirby (b), Walter Johnson (d).
\nNYC, March 27, 1933
\nSupervised by John Hammond
\nB13183-A Someday, Sweetheart Pirate (Sd) MPC-513 (EP)
\nB13184-A I Wish I Could Shimmy Like My Sister Kate \u2013<\/p>\n

Note: The Pirate EP lists this as ALLEN-HAWKINS ORCHESTRA, however, in the Brunswick ledgers and file cards this is credited as HAWKINS ORCHESTRA.
\n________________________________________________________________________
\n(DD) ALLEN-HAWKINS AND THEIR ORCHESTRA: Henry Allen (tp, vcl), Dickie Wells (tb), Hilton Jefferson (as), Coleman Hawkins (ts), Horace Henderson (p, arr), Bernard Addison (g, bjo), John Kirby (tu, b), Walter Johnson (d).
\nNYC, July 21, 1933
\n13616-1 The River\u2019s Takin\u2019
\nCare Of Me (HA-vcl) Ban 32840, Mel M 12769, Or 2746,
\nPer 15808, Ro 2119
\n13617-1 Ain\u2019tcha Got Music (HA-vcl) Same issues as matrix 13616.
\n13618-1 Stringin\u2019 Along On
\nA Shoe String (HA-vcl) Ban 32829, Mel M 12759, Or 2739,
\nPer 15802, Ro 2112
\n13619-1 Shadows On The Swanee Same issues as matrix 13618.<\/p>\n

Note: Horace Henderson is probably the arranger on all titles from this session.<\/p>\n

Alternate takes (-2) exist for both Stringin\u2019 Along On A Shoe String and Shadows On The Swanee, however, they are known to exist only on a poor sounding cassette tape dub that came from the collection of Henry Allen. In addition to the poor quality, the solos by Hawkins are very similar to that of the master takes.
\n________________________________________________________________________
\n(EE) FLETCHER HENDERSON AND HIS ORCHESTRA: Russell Smith, Bobby Stark, Henry Allen (tp), Dicky Wells (tb), Hilton Jefferson, Russell Procope (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p, arr), Bernard Addison (g), John Kirby (b), Walter Johnson (d), Horace Henderson (arr).
\nNYC, August 18, 1933
\n13827-2 Yeah Man (HH-arr) Br (G) A-9771
\n13827-1 Yeah Man (HH-arr) Voc 2527
\n13828-2 King Porter Stomp (FH-arr) Br (G) A-9771
\n13828-1 King Porter Stomp (FH-arr) Voc 2527<\/p>\n

Add Sandy Williams (tb)
\n13829-1 Queer Notions (HH-arr) Voc 2583
\n13830-2 Can You Take It? (FH-arr) Col 35671
\n13830-1 Can You Take It? (FH-arr) Voc 2583<\/p>\n

Note: Vocalion 2527 credits matrix 13828 as King Porter\u2019s Stomp.
\n________________________________________________________________________
\n(FF) FLETCHER HENDERSON AND HIS ORCHESTRA: Russell Smith, Bobby Stark (tp), Henry Allen (tp, vcl), Dicky Wells, Claude Jones (tb), Russell Procope (cl, as), Hilton Jefferson (as), Coleman Hawkins (ts), Horace Henderson (p, arr), Bernard Addison (g), John Kirby (tu, b), Walter Johnson (d), Fletcher Henderson, Will Hudson (arr).
\nNYC, September 22, 1933
\nSupervised by John Hammond
\nw265135-2 Queer Notions (HH-arr) Col (E) CB 678
\nw265136-2 It\u2019s The Talk Of The Town (FH-arr) previously unissued
\nw265136-3 It\u2019s The Talk Of The Town (FH-arr) Col 2825-D
\nw265137-2 Night Life (WH-arr) Col (E) CB 727
\nw265138-2 Nagasaki (HA-vcl) (HH-arr) -1 Col 2825-D<\/p>\n

-1 unknown (vib) (not Johnson).<\/p>\n

Note: The metal part of It\u2019s The Talk Of The Town (-3) has \u201cPlease test for Mr. Hammond\u201d etched in the run-on groove area.
\n________________________________________________________________________
\n(GG) COLEMAN HAWKINS & HIS ORCH.: Henry Allen (tp), J.C. Higginbotham (tb), Hilton Jefferson (cl, as), Coleman Hawkins (ts), Horace Henderson (p, arr), Bernard Addison (g), John Kirby (b), Walter Johnson or Sid Catlett (d).
\nNYC, September 29, 1933
\nSupervised by John Hammond
\nw265143-2 The Day You Came Along (HH-arr) Par (E) R 1685
\nw265144-1 Jamaica Shout (HH-arr) Jazz Oracle (C) BDW 8047 (CD)
\nw265144-2 Jamaica Shout (HH-arr) OK 41566, Par (E) R 1685
\nw265145-2 Heart-Break Blues (HH-arr) OK 41566, Par (E) R 1766,
\nPar (G) R 1766
\nNote: Matrix w265145 was shown as Heartbreak Blues on the OKeh release.
\n________________________________________________________________________
\n(HH) HORACE HENDERSON & HIS ORCH. -1 \/ FLETCHER HENDERSON AND HIS ORCHESTRA -2: Same as (FF).
\nNYC, October 3, 1933
\nSupervised by John Hammond
\nw265151-1 Rhythm Crazy (HH-arr) -1 Par (E) R 1743
\nw265152-1 Ol\u2019 Man River (HA-vcl) -1 Par (E) R 1766
\nw265153-2 Minnie The Moocher\u2019s
\nWedding Day (HH-arr) -1 Par (E) R 2031, Par (G) R 2031
\nw265155-1 I\u2019ve Got To Sing A Torch Song -2 Col (E) CB 701<\/p>\n

Note: For matrix w265153 the actual title on the label of Parlophone R 2031 is The Anniversary of Minnie The Moocher\u2019s Wedding Day.
\n________________________________________________________________________
\n(II) ALLEN-HAWKINS AND THIER ORCHESTRA: Henry Allen (tp, vcl), Benny Morton (tb), Edward Inge (as, cl), Coleman Hawkins (ts), Horace Henderson (p), Bernard Addison (g), Bob Ysaguirre (b), Manzie Johnson (d).
\nNYC, November 9, 1933
\n14282-1 Hush My Mouth
\n(If I Ain\u2019t Goin\u2019 South) (HA-vcl) Ban 32915, Mel M 12858,
\nOr 2806, Per 15858, Ro 2179
\n14283-2 You\u2019re Gonna Lose Your Gal (HA-vcl) previously unissued
\n14283-1 You\u2019re Gonna Lose Your Gal (HA-vcl) Ban 32901, Cq 8265,
\nMel M 12842, Or 2797,
\nPer 15851, Ro 2170
\n14284-1 Dark Clouds (HA-vcl) Same issues as matrix 14282.
\n14285-2 My Galveston Gal (HA-vcl) previously unissued
\n14285-1 My Galveston Gal (HA-vcl) Same issues as matrix 14283.<\/p>\n

Note: Oriole 2806 as HENRY ALLEN AND HIS ORCHESTRA; and the Romeo releases as ALLEN RED AND HIS ORCHESTRA.
\n________________________________________________________________________
\n(JJ) BENNY GOODMAN AND HIS ORCHESTRA -1 \/ BENNY GOODMAN & HIS ORCHESTRA -2: Mannie Klein, Charlie Margulis (tp), Sonny Lee (tb), Benny Goodman (cl), Coleman Hawkins (ts), Arthur Schutt (p, arr), Dick McDonough (g), Artie Bernstein (b), Gene Krupa (d, chimes), Mildred Bailey (vcl), George Bassman (arr).
\nNYC, February 2, 1934
\nSupervised by John Hammond
\nw152701-3 Georgia Jubilee (AS-arr) -1 Col 2907-D
\nw152703-2 Ol\u2019 Pappy (MB-vcl) (GB-arr) -2 Col 2892-D
\nw152704-2 Emaline (MB-vcl) -1 Col 2907-D
\n________________________________________________________________________
\n(KK) FLETCHER HENDERSON AND HIS ORCHESTRA: Russell Smith, Joe Thomas, Henry Allen (tp), Claude Jones, Keg Johnson (tb), Buster Bailey (cl), Hilton Jefferson, Russell Procope (cl, as), Coleman Hawkins (ts), Fletcher Henderson (p, arr), Bernard Addison (g), John Kirby (b), Vic Engle (d), Charles Holland (vcl), Will Hudson, Russ Morgan (arr).
\nNYC, March 6, 1934
\nBS 81787-2 Hocus Pocus (WH-arr) RCA Vic LPV 556 (LP)
\nBS 81787-1 Hocus Pocus (WH-arr) BB B-5682
\nBS 81788-2 Phantom Fantasie (RM-arr) Vic 24699
\nBS 81789-2 Harlem Madness (CH-vcl) (FH-arr) \u2013
\nBS 81790-2 Tidal Wave (RM-arr) previously unissued
\nBS 81790-1 Tidal Wave (RM-arr) BB B-5682<\/p>\n

Note: An alternate (-1) exists on Phantom Fantasie, however it is not included in this package since the only solo spot goes to Hawkins and it is nearly identical to the master take (-2).
\n________________________________________________________________________
\n(LL) COLEMAN HAWKINS: Coleman Hawkins (ts), Buck Washington (p).
\nNYC, March 8, 1934
\n265172-1 It Sends Me previously unissued
\n265172-2 It Sends Me Par (E) R 1837
\n265173-2 I Ain\u2019t Got Nobody Par (E) R 1825
\n265175-2 On The Sunny Side Of The Street previously unissued
\n265175-1 On The Sunny Side Of The Street Par (E) R 1825<\/p>\n

Note: Matrix 265174 is a piano solo by Buck Washington.<\/p>\n

Matrix 275175-2 has been listed in discographies as being issued on Parlophone A-3938. However, the only take that has surfaced on that 78 is the master take -1.
\n________________________________________________________________________
\n(MM) LIONEL HAMPTON <\/a>AND HIS ORCHESTRA: Dizzy Gillespie (tp), Benny Carter (as, arr), Coleman Hawkins, Chu Berry, Ben Webster (ts), Lionel Hampton (vib, vcl), Clyde Hart (p), Charlie Christian (g), Milt Hinton (b), Cozy Cole (d).
\nNYC, September 11, 1939
\nSupervised by Leonard Joy
\nBS 041406-1 When Lights Are Low (BC-arr) Vic 26371
\nBS 041407-1 One Sweet Letter From You
\n(LH-vcl) (BC-arr) Vic 26393<\/p>\n

Note: There is an alternate -2 for When Lights Are Low, however, it is not included here but can be found on Mosaic MD5-238.
\n________________________________________________________________________
\n(NN) COLEMAN HAWKINS AND HIS ORCHESTRA: Tommy Lindsay, Joe Guy (tp), Earl Hardy (tb), Jackie Fields, Eustis Moore (as), Coleman Hawkins (ts, arr), Gene Rodgers (p, arr), Oscar Smith (b), Art Herbert (d), Thelma Carpenter (vcl), Hazel Scott (arr).
\nNYC, October 11, 1939
\nSupervised by Leonard Joy
\nBS 042933-8 Meet Doctor Foo (CH-arr) BB B-10477
\nBS 042934-12 Fine Dinner (GR-arr) BB B-10523
\nBS 042935-2 She\u2019s Funny That Way (TC-vcl) (HS-arr) previously unissued
\nBS 042935-1 She\u2019s Funny That Way (TC-vcl) (HS-arr) BB B-10477
\nBS 042936-1 Body And Soul BB B-10523<\/p>\n

Note: Metal parts exist for BS 042933-1 and BS 042934-1, however, they both play as the master takes shown above.
\n________________________________________________________________________
\n(OO) LIONEL HAMPTON<\/a> AND HIS ORCHESTRA: Benny Carter (tp), Edmond Hall (cl), Coleman Hawkins (ts), Lionel Hampton (vib), Joe Sullivan (p), Freddie Green (g), Artie Bernstein (b), Zutty Singleton (d).
\nNYC, December 21, 1939
\nSupervised by Leonard Joy
\nBS 046024-1 Dinah Vic 26557
\nBS 046025-1 My Buddy Vic 26608
\nBS 046026-1 Singin\u2019 The Blues Vic 26557<\/p>\n

Note: There is an alternate -2 for Dinah, however, it is not included here but can be found on Mosaic MD5-238.
\n________________________________________________________________________
\n(PP) COLEMAN HAWKINS\u2019 ALL STAR OCTET: Benny Carter (tp), J.C. Higginbotham (tb), Danny Polo (cl), Coleman Hawkins (ts), Gene Rodgers (p), Lawrence Lucie (g), Johnny Williams (b), Walter Johnson (d).
\nNYC, January 3, 1940
\nSupervised by Leonard Joy
\nBS 046156-1 When Day Is Done BB B-10693
\nBS 046157-1 The Sheik Of Araby BB B-10770
\nBS 046158-1 My Blue Heaven \u2013
\nBS 046159-1 Bouncing With Bean BB B-10693
\n________________________________________________________________________
\n(QQ) BENNY CARTER AND HIS ORCHESTRA: Joe Thomas, Lincoln Mills, Russell Smith (tp), Jimmy Archey, Vic Dickenson, Gene Simon (tb), Benny Carter (as, tp, arr), James Powell, Carl Frye (as), Stan Payne, Coleman Hawkins (ts), Eddie Heywood (p), Ulysses Livingston (g), Hayes Alvis (b), Keg Purnell (d), Roy Felton (vcl), Buck Ram (arr).
\nLiederkranz Hall, NYC, January 30, 1940
\nSupervised by John Hammond
\nM 1126-3 Sleep (BC-arr) Meritt 17 (LP)
\nM 1126-2 Sleep (BC-arr) \u2013
\nM 1126-BD Sleep (BC-arr) \u2013
\nM 1126-1 Sleep (BC-arr) Voc \/ OK 5399
\nM 1127-1 Among My Souvenirs (RF-vcl) (BC-arr) Voc \/ OK 5458, Cq 9459
\nM 1128-3 Fish Fry (BC-arr) Meritt 17 (LP)
\nM 1128-1 Fish Fry (BC-arr) Voc \/ OK 5458, Cq 9459
\nM 1128-2 Fish Fry (BC-arr) Meritt 17 (LP)
\nM 1128-BD Fish Fry (BC-arr) \u2013
\nM 1129-BD Slow Freight (BC \/ BR-arr) \u2013
\nM 1129-1 Slow Freight (BC \/ BR-arr) Voc \/ OK 5399<\/p>\n

Note: Slow Freight was initially a Buck Ram stock arrangement but was reworked by Carter.<\/p>\n

Absent from this package are two alternate takes of Among My Souvenirs and Six Breakdowns Of Fish Fry.
\n________________________________________________________________________
\n(RR) COLEMAN HAWKINS AND HIS ORCHESTRA: Nelson Bryant, Tommy Stevenson, Joe Guy, Tommy Lindsay (tp), Claude Jones, Sandy Williams, Billy Kato (tb), Jackie Fields, Eustice Moore (as), Ernie Powell (as, cl), Coleman Hawkins, Kermit Scott (ts), Gene Rodgers (p), Gene Fields (g), Billy Taylor (b), J.C. Heard (d), Gladys Madden (vcl).
\nNYC, August 9, 1940
\n27850-2 Passin\u2019 It Around OK 6284
\n27851-1 Serenade To A Sleeping Beauty OK 6347
\n27852-2 Rocky Comfort previously unissued
\n27852-1 Rocky Comfort OK 6284
\n27853-1 Forgive A Fool (GM-vcl) OK 6347<\/p>\n

Note: Matrix 27850-1 exists as a metal part; however, it is only a dub of -2 and not a true alternate.<\/p>\n

Epic (LP) SN 6042 (Swing Street) lists the alternate take -2 for matrix 28752. However, -1 is the take that is used.<\/p>\n

Matrix 27853-2 exists as a metal part and a true alternate take, however, Hawkins\u2019 solo is practically identical to the master take (-1).<\/p>\n

Some reference works list Billy Kato as Billy Cato. However, the above spelling comes from the 1940 NY Local 802 AFM directory.
\n________________________________________________________________________
\n(SS) METRONOME ALL STAR BAND: Cootie Williams, Harry James, Ziggy Elman (tp), Tommy Dorsey, J.C. Higginbotham (tb), Benny Goodman (cl), Benny Carter, Toots Mondello (as), Coleman Hawkins, Tex Beneke (ts), Count Basie (p), Charlie Christian (g), Artie Bernstein (b), Buddy Rich (d).
\nNYC, January 16, 1941
\nSupervised by George T. Simon and Leonard Joy
\nBS 0A60331-1 Bugle Call Rag Vic 27314
\nBS 0A60332-1 One O\u2019Clock Jump \u2013
\n________________________________________________________________________
\n(TT) COUNT BASIE AND HIS ORCHESTRA: Buck Clayton (tp), Harry Edison, Al Killian, Ed Lewis (tp), Ed Cuffee, Dan Minor, Dicky Wells (tb), Earle Warren, Tab Smith (as), Don Byas, Coleman Hawkins, Buddy Tate (ts), Jack Washington (bari), Count Basie (p, arr), Freddie Green (g), Walter Page (b), Jo Jones (d), Buster Harding (arr).
\nChicago, April 10, 1941
\nSupervised by John Hammond
\nC 3678-2 9:20 Special (BH-arr) CBS (F) 66101 (LP)
\nC 3678-1 9:20 Special (BH-arr) OK 6244
\nC 3680-2 Feedin\u2019 The Bean (CB-arr) CBS (F) 66102 (LP)
\nC 3680-1 Feedin\u2019 The Bean (CB-arr) OK 6180
\n________________________________________________________________________
\n(UU) COLEMAN HAWKINS AND HIS ORCHESTRA: Bill Coleman (tp), Andy Fitzgerald (cl), Coleman Hawkins (ts), Ellis Larkins (p), Al Casey (g), Oscar Pettiford (b), Shelly Manne (d).
\nWOR Studios, NYC, December 8, 1943
\nSupervised by Bob Thiele
\nT 1905 Voodte Sig 28101
\nT 1906-1 How Deep Is The Ocean Sig 28102
\nT 1907 Hawkins\u2019 Barrel-House Sig 28101
\nT 1908 Stumpy Sig 28102<\/p>\n

Note: Some copies of T 1908 on Signature 28102 list this as Stompy.
\n________________________________________________________________________
\n(VV) COLEMAN HAWKINS AND HIS ORCHESTRA \u20131 \/ COLEMAN HAWKINS SWING FOUR \u20132: Coleman Hawkins (ts), Ellis Larkins (p), Jimmy Shirley (g), Oscar Pettiford (b), Max Roach (d).
\nWOR Studios, NYC, December 18, 1943
\nSupervised by Bob Thiele
\nT 1917-alt Lover Come Back To Me previously unissued
\nT 1917 Lover Come Back To Me \u20131 Br BL 58030 (LP)
\nT 1918 Indiana previously unissued
\nT 19001 Blues Changes \u20132 Br BL 58030 (LP)
\nT 19002 These Foolish Things unissued, master no longer exists
\n________________________________________________________________________
\n(WW) COLEMAN HAWKINS\u2019 SWING FOUR: Coleman Hawkins (ts), Eddie Heywood (p), Oscar Pettiford (b), Shelly Manne (d).
\nWOR Studios, NYC, December 23, 1943
\nSupervised by Bob Thiele
\nT 1923 Crazy Rhythm Sig 28104
\nT 1924 Get Happy \u2013
\nT 19005 The Man I Love Sig 90001 (12\u201d)
\nT 19006 Sweet Lorraine \u2013<\/p>\n

Note: Some pressings of Get Happy have the matrix listed on the label as T1934 and in the run-off groove area on both sides of Signature 28104 there is \u201c-2A\u201d. It is not known if this is a legitimate take number\/letter.<\/p>\n

Some discographies list an alternate take for The Man I Love on V-Disc 529, however, this is the master take as heard on Signature 90001.
\n________________________________________________________________________
\n(XX) COLEMAN HAWKINS AND HIS ALL STARS: Charlie Shavers (tp), Edmond Hall (cl), Coleman Hawkins (ts), Clyde Hart (p), Tiny Grimes (g), Oscar Pettiford (b), Denzil Best (d).
\nNYC, July 27, 1944
\nProbably supervised by Irving Berman
\nS1177 All The Things You Are -1 Regis 7002
\nS1178 Shivers previously unissued
\nS1179 Step On It Manor 1036
\nS1180 It Had To Be You unissued, master no longer exists
\nS1181 Riding On 52nd Street Regis 7002
\nS1182 Memories Of You Manor 1036<\/p>\n

-1 omit Shavers and Hall.<\/p>\n

Note: Regis 7002 does not give an artist credit on the label, but just the personnel.<\/p>\n

It has been suggested that this is a Clyde Hart led date and that Hart and Shavers are the arrangers.
\n________________________________________________________________________
\n(YY) COZY COLE\u2019S ALL STARS: Charlie Shavers (tp), Hank D\u2019Amico (cl), Walter \u201cFoots\u201d Thomas (as, ts, arr), Coleman Hawkins (ts), Clyde Hart (p), Tiny Grimes (g), Slam Stewart (b), Cozy Cole (d).
\nNYC, November 14, 1944
\nSupervised by Don Gabor or Foots Thomas
\nS-3275 Willow Weep For Me (FT-arr) Cont C-6001
\nS-3276 Look Here (FT-arr) Cont C-6000
\nS-3277 I Don\u2019t Stand A Ghost Of A Chance (FT-arr) \u2013
\nS-3278 Take It On Back (FT-arr) Cont C-6001
\n________________________________________________________________________
\n(ZZ) COZY COLE\u2019S ALL STARS: Charlie Shavers (tp), Hank D\u2019Amico (cl), Don Byas, Coleman Hawkins (ts), Johnny Guarnieri (p), Tiny Grimes (g), Slam Stewart (b), Cozy Cole (d).
\nNYC, November 21, 1944
\nPossibly supervised by Don Gabor
\nS-3283 Memories Of You Cont C-6004
\nS-3285 When Day Is Done Cont C-6014
\n________________________________________________________________________
\n(AAA) LEONARD FEATHER AND HIS ALL STARS: Buck Clayton (tp), Edmond Hall (cl), Coleman Hawkins (ts), Leonard Feather (p), Remo Palmieri (g), Oscar Pettiford (b), Specs Powell (d).
\nNYC, December 1, 1944
\nSupervised by Leonard Feather
\n9003 Esquire Jump Cont C-6009
\n9004 Thanks For The Memory Cont C-6016
\n________________________________________________________________________
\n(BBB) COLEMAN HAWKINS: Coleman Hawkins (ts).
\nNYC, probably January 1945
\nProbably supervised by Timme Rosenkrantz
\nB-5-A Hawk\u2019s Variations (Pt. 1) Baronet (D) TR 4, Selmer (F) Y7129
\nB-5-B Hawk\u2019s Variations (Pt. 2) \u2013 \u2013<\/p>\n

Note: Some discographies list matrices 9462-5-A and 9463-5-B for the titles shown above.
\n________________________________________________________________________
\n(CCC) COLEMAN HAWKINS\u2019 52ND STREET ALL STARS: Charlie Shavers (tp), Pete Brown (as), Coleman Hawkins, Allen Eager (ts), Jimmy Jones (p), Mary Osborne (g), Al McKibbon (b), Shelly Manne (d).
\nNYC, February 27, 1946
\nSupervised by Leonard Feather
\nPD6VB 1308-1 Say It Isn\u2019t So RCA Vic 40-0131
\nPD6VB 1309-1 Spotlite \u2013
\n________________________________________________________________________
\n(DDD) ESQUIRE ALL-AMERICAN AWARD WINNERS: Charlie Shavers, Buck Clayton (tp), J.J. Johnson (tb), Coleman Hawkins (ts), Harry Carney (bari), Teddy Wilson (p), John Collins (g), Chubby Jackson (b), Shadow Wilson (d).
\nNYC, December 4, 1946
\nSupervised by Leonard Feather
\nD6VB 3369-1 Indiana Winter RCA Vic 40-0137
\nD6VB 3370-1 Indian Summer \u20131 RCA Vic 40-0136<\/p>\n

\u20131 omit Clayton.
\n________________________________________________________________________
\n(EEE) METRONOME ALL STAR BAND: Charlie Shavers (tp), Lawrence Brown (tb), Johnny Hodges (as), Coleman Hawkins (ts), Harry Carney (bari), Nat \u201cKing\u201d Cole (p, vcl), Bob Ahern (g), Eddie Safranski (b), Buddy Rich (d), Frank Sinatra, June Christy (vcl), Sy Oliver (arr).
\nNYC, December 15, 1946
\nSupervised by George T. Simon
\nCO 37177-BD1 Sweet Lorraine (FS-vcl) (SO-arr) previously unissued
\nCO 37177-3 Sweet Lorraine (FS-vcl) (SO-arr) \u2013
\nCO 37177-BD2 Sweet Lorraine (SO-arr) \u2013
\nCO 37177-2 Sweet Lorraine (FS-vcl) (SO-arr) Col 37293
\nCO 37177-BD4 Sweet Lorraine (FS-vcl) (SO-arr) previously unissued
\nCO 37177-BD5 Sweet Lorraine (FS-vcl) (SO-arr) \u2013
\nCO 37177-1 Sweet Lorraine (FS-vcl) (SO-arr) Col 37293
\nCO 37178-4 Nat Meets June (NKC, JC-vcl) (SO-arr) Col CJ 40652 (LP)
\nCO 37178-3 Nat Meets June (NKC, JC-vcl) (SO-arr) Har HL 7044 (LP)
\nCO 37178 Nat Meets June -1 previously unissued
\nCO 37178-BD2 Nat Meets June (NKC, JC-vcl) (SO-arr) \u2013
\nCO 37178-2 Nat Meets June (NKC, JC-vcl) (SO-arr) \u2013
\nCO 37178-1 Nat Meets June (NKC, JC-vcl) (SO-arr) Col 37293<\/p>\n

-1 This take is neither a breakdown nor an alternate, but rather some brief conversation and playing which occurred after -3.<\/p>\n

Note: Matrix 37177-2 is the rarer of the two takes issued on Columbia 37293. Discographies have conflicting information in regard to what take number corresponds to a given released side. The above sequence comes from written information on the sleeve of the original lacquer disc which was then aurally compared to confirm the commercial release.<\/p>\n

The original lacquer disc of this session contains three short breakdowns which are not included here. They are BD3 and BD6 for Sweet Lorraine and BD1 for Nat Meets June.
\n________________________________________________________________________
\n(FFF) COLEMAN HAWKINS AND HIS ORCHESTRA: unknown (tp), (tb), (as), Coleman Hawkins, unknown (ts), unknown (bari), (p), (b), (d), Dolores Martin (vcl).
\nNYC, late 1946 or early 1947
\nCS 105 The Old Song (DM-vcl) Ca-Song 103
\nCS 106 You Said Good-Bye (DM-vcl) \u2013<\/p>\n

Note: Although it has not been determined what the exact date is of this session, Billboard mentions this release in their May 1947 issue.
\n________________________________________________________________________
\n(GGG) LESLIE SCOTT WITH COLEMAN HAWKINS AND HIS ORCHESTRA: Coleman Hawkins (ts), Zelly Smirnoff, possibly George Brown, Bertrand Hirsch, Benjamin Lambert (vln), Maurice Brown (cello), Hank Jones (p), Chuck Wayne (g), Jack Lesberg (b), Max Roach (d), Leslie Scott (vcl).
\nNYC, December 10, 1947
\nSupervised by Steve Sholes and Charles Grean
\nD7VB 2647-1 How Did She Look? (LS-vcl) RCA Vic 20-2919
\nD7VB 2648-1 Under A Blanket Of Blue (LS-vcl) RCA Vic 20-2745
\nD7VB 2649-1 Never In A Million Years (LS-vcl) RCA Vic 20-2919
\nD7VB 2650-1 You Were Meant For Me (LS-vcl) RCA Vic 20-2745<\/p>\n

Note: The RCA Victor AFM logs show a \u201cG. Brown\u201d listed as one of the violinists. After checking the New York AFM directory for 1947, however, there is no listing for any \u201cG. Brown\u201d in the violinist section, but there is a \u201cGeorge Brown\u201d in the viola section.
\n________________________________________________________________________
\n(HHH) COLEMAN HAWKINS AND HIS ORCHESTRA: Fats Navarro (tp), J.J. Johnson (tb), Budd Johnson (as), Coleman Hawkins (ts), Marion DeVeta (bari), Hank Jones (p), Chuck Wayne (g), Jack Lesberg (b), Max Roach (d).
\nNYC, December 11, 1947
\nSupervised by Leonard Feather
\nD7VB 2659-1 April In Paris RCA Vic 20-3057
\nD7VB 2660-1 How Strange \u2013
\nD7VB 2661-1 Half Step Down, Please RCA Vic 20-3143
\nD7VB 2662-1 Angel Face RCA LPV 544 (LP)
\nD7VB 2663-1 Jumping For Jane RCA Vic 20-3143
\nD7VB 2664-1 I Love You RCA LPV 501 (LP)
\n________________________________________________________________________
\nAlbum Index:
\n78 ALBUMS:
\nRCA Victor HJ 9 (for catalog number 40-0131)
\nVARIOUS ARTISTS \u2013 NEW 52ND STREET JAZZ<\/p>\n

RCA Victor HJ 10 (40-0136, 40-0137)
\nVARIOUS ARTISTS \u2013 ESQUIRE\u2019S ALL AMERICAN HOT JAZZ VOLUME 2<\/p>\n

RCA Victor P 226 (20-3143)
\nVARIOUS ARTISTS \u2013 BEBOP (AN ALBUM OF MODERN JAZZ)<\/p>\n

ET:
\nArmed Forces Radio Service #64
\nAMERICA\u2019S POPULAR MUSIC<\/p>\n

EP:
\nPirate MPC-513
\nALLEN-HAWKINS ORCHESTRA<\/p>\n

\u201cX\u201d EVA-2
\nFLETCHER HENDERSON AND HIS CONNIE\u2019S INN ORCHESTRA FEATURING COLEMAN HAWKINS AND REX STEWART<\/p>\n

10\u201d LP:
\nBr BL 58030
\nCOLEMAN HAWKINS \u2013 TENOR SAX STYLINGS VOL.1<\/p>\n

\u201cX\u201d LVA 3013
\nFLETCHER HENDERSON AND HIS CONNIE\u2019S INN ORCHESTRA FEATURING COLEMAN HAWKINS AND REX STEWART<\/p>\n

12\u201d LP:
\nCBS (F) 66101
\nCOUNT BASIE \u2013 THE COMPLETE COUNT BASIE VOL.1-10 1936-1941<\/p>\n

CBS (F) 66102
\nCOUNT BASIE \u2013 THE COMPLETE COUNT BASIE VOL.11-20 1941-1951<\/p>\n

Columbia C4L19
\nFLETCHER HENDERSON \u2013 A STUDY IN FRUSTRATION<\/p>\n

Columbia CJ 40652
\nVARIOUS ARTISTS \u2013 THE 1940s: THE SINGERS<\/p>\n

Harmony HL 7044
\nVARIOUS ARTISTS \u2013 METRONOME ALL STARS<\/p>\n

Meritt 17
\nBENNY CARTER \u2013 THE GENTLEMAN OF JAZZ 1940-1941<\/p>\n

RCA (J) RA 47
\nMCKINNEY\u2019S COTTON PICKERS \u2013 THE BIG BAND ERA<\/p>\n

RCA LPV 501
\nCOLEMAN HAWKINS \u2013 BODY AND SOUL: A JAZZ AUTOBIOGRAPHY<\/p>\n

RCA LPV 544
\nVARIOUS ARTISTS \u2013 ESQUIRE\u2019S ALL AMERICAN HOT JAZZ<\/p>\n

RCA LPV 556
\nHENRY RED ALLEN \u2013 HENRY RED ALLEN<\/p>\n

RCA (F) PM 42406
\nBENNY CARTER \u2013 1928-1952<\/p>\n

CD:
\nBluebird 9904-2-RB
\nFLETCHER HENDERSON \u2013 HOCUS POCUS<\/p>\n

Jazz Oracle (C) BDW 8047
\nVARIOUS ARTISTS \u2013 A GIFT FROM THE PRESIDENT<\/p>\n

Produced for release by Scott Wenzel
\nExcutive Producer: Michael Cuscuna<\/p>\n

Metal part and lacquer transfers: Andreas Meyer<\/p>\n

Sound restoration and mastering by Andreas Meyer (www.meyer-media.com)<\/p>\n

24 bit technology was utilized at all stages of the production of this Mosaic release.<\/p>\n

Special thanks: Jan Evensmo, Vince Giordano (for supplying arranger credits on some of the titles), Kenneth Gross (for providing the alternates to You\u2019re Gonna Lose Your Gal, My Galveston Gal, Lover, Come Back To Me, Indiana and Shivers), Tom Hustad (for providing the alternate to Tidal Wave), The Institute of Jazz Studies, Matt Kelly, Steven Lasker (for providing a test of -3 of Wherever There\u2019s A Will, Baby), Dan Morgenstern, Anders Ohman (fro providing the alternates to It\u2019s The Talk of the Town and It Sends Me), Michael Panico, Vincent Pelote, Lloyd Rauch, Tom Tierney and John Wilby (for providing the rare -2 of Sugar Foot Stomp on Columbia 2513-D and the alternate to On The Sunny Side Of The Street). The rest of the previously unissued takes came from the Sony Music vaults.<\/p>\n

78s provided by: Michael Brooks, Leon Dierckx, The Institue of Jazz Studies, Brad Kay, Steven Lasker, Lloyd Rauch, Scott Wenzel and John Wilby.<\/p>\n

Vault research: Anthony Fountain and Scott Wenzel<\/p>\n

Producer\u2019s Note:
\nAlthough the sound quality of these sessions will differ from track to track, we have made every effort to obtain the best possible source material, be it the original metal parts, test pressings or commercially released 78s. However, some specific problems beyond our control include the following: The test pressings we used for the alternate takes of You\u2019re Gonna Lose Your Gal and My Galveston Gal (from Session II) only exist as poor sounding tape dubs. Hocus Pocus (from Session KK) exists as a dub off of a test pressing. The Benny Carter Orchestra session once was available in the original lacquer but is now no longer in the Sony vault. Therefore a CD dub was used for transfer. Lover, Come Back To Me and Indiana (from Session VV) are also dubs from tape, as is Shivers from Session XX. There is also a speed variation at the beginning of Angel Face (Session HHH) which was caused by the original cutting machine used by RCA engineers.<\/p>\n

As noted in other Mosaic boxed sets that contain sources from metal parts, the master take is seldom the first but instead usually the last take recorded. For the majority of these sessions the initial release would be the -A or -1 take, while a -B or -2 take would become the second or alternate choice for release on the originally issued 78. Since there is no surviving company file that shows the original recording sequence, it was decided that for the sake of comparison within this discography, it would be best if most of the takes of a given master were grouped together in descending alphabetical or numerical order. This is not an exact science but we believe this approach most closely approximates the original recording sequence.<\/p>\n

In a departure from previous Mosaic sets, we have presented the Metronome All Star session (EEE) in the order it was recorded off of the original lacquer disc. Considering we or any other label may never again have this opportunity, it was imperative we issue it as complete as possible.<\/p>\n

Scott Wenzel<\/p>\n<\/div>\n<\/div>\n

\n
\n

The most amazing thing about this man is the fact that he rises above his surroundings. He can be put with the worst rhythm section in the world and yet play some of the most magnificent stuff ever heard\u2026Hawk develops his choruses as a logical sequence of beautiful phrases. The second chorus follows the first one naturally. This then, friends, is the difference between Coleman Hawkins and an ordinary \u201cchorus blower\u201d whose ninth chorus has absolutely no relation to the tenth.<\/p>\n

Many critics who cling so desperately to the old \u201cpure Fletcher Henderson Hawk\u201d complain about the reedy buzz tone he has been using since coming back from Europe, but Hawk uses this device only as a climatic effect, this in contrast to his imitators, who use it till they empty the joint in which they\u2019re playing.<\/p>\n

You can take this for a fact: Hawk is a musician who is still continuously advancing his playing, whose harmonic ideas become more daring with every subsequent recording date. In fact, the time has come when a jazz musician of Hawkins\u2019 status should be taken in hand by a prominent concert promoter and a serious concert tour be mapped out for him. When an American composer, familiar with jazz and the classics both, should write a modern concerto for tenor sax and orchestra with Coleman Hawkins in mind.<\/p>\n

He\u2019s an ardent classical music fan, has a fine personal music library of classical discs. On a recording session we had not so long ago he confided to me that he would like to make an unaccompanied solo record, on the order of the cello records of Pablo Casals. Yes, it is with musicians like Coleman Hawkins that the future of jazz lies\u201d.<\/p>\n<\/div>\n<\/div>\n[\/vc_column_text][\/tab][\/tabbed_section][vc_zigzag el_width=”60″][vc_video link=”https:\/\/www.youtube.com\/watch?v=CW5RBME60NM” el_width=”60″ align=”center”][vc_column_text]\n

Rainbow Mist (Delmark):<\/h3>\n

Coleman Hawkins was very busy in the recording studios during 1944. In addition to appearing at the Esquire All-American concert on a few numbers with Louis Armstrong<\/span><\/a> and Art Tatum (which were later released on LPs), he led nine sessions of his own and appeared as a sideman on four dates\u00a0by Cozy Cole, two by fellow tenor Walter \u201cFoots Thomas,\u201d and on one session apiece led by Georgie Auld, Leonard Feather, Charlie Shavers, George Wettling and Mary Lou Williams.<\/p>\n

His most historic recordings of the year are arguably the six selections that he recorded on Feb. 16 & 22, 1944 which is considered the first bebop record date. For the project, Hawkins invited some of the up-and-coming young beboppers who impressed him including trumpeter Dizzy Gillespie, pianist Clyde Hart, bassist Oscar Pettiford and drummer Max Roach, and such saxophonists as Leo Parker, Don Byas and Budd Johnson. While some of the performances are ballad features for Coleman Hawkins (including \u201cRainbow Mist\u201d which is based on \u201cBody And Soul\u201d), \u201cBu Dee Daht,\u201d Coleman Hawkins\u2019 catchy \u201cDisorder At The Border,\u201d and particularly Gillespie\u2019s \u201cWoody\u2019n You\u201d look towards the future.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=pG4cKwdo8uI” el_width=”60″ align=”center”][vc_column_text]\n

Bean And The Boys (Prestige):<\/h3>\n

While Coleman Hawkins was not thought of as an important talent scout (unlike Fletcher Henderson, Art Blakey<\/span><\/a> and Miles Davis), he was the first to recognize and record with Thelonious Monk. His four quartet numbers with Monk from Oct. 19, 1944 show that the pianist already had his unique and immediately recognizable style together.<\/p>\n

The Bean and the Boys album is also noteworthy for a Dec. 1946 octet date that utilizes such young and modern talent as trumpeter Fats Navarro, trombonist J.J. Johnson, pianist Hank Jones, vibraphonist Milt Jackson, and drummer Max Roach. One cannot imagine any other alumnus from Mamie Smith\u2019s band excelling on \u201cI Mean You\u201d and \u201cBean And The Boys.\u201d[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=1wYAOM0TtlE” el_width=”60″ align=”center”][vc_column_text]\n

Hollywood Stampede (Capitol):<\/h3>\n

The mid-1940s were a prime period for Coleman Hawkins<\/span><\/a>. In addition to touring with Norman Granz\u2019s\u00a0 Jazz At The Philharmonic (an occasional association that continued through 1960), he led one of his finest combos, a sextet with trumpeter Howard McGhee, pianist Sir Charles Thompson, rhythm guitarist Allan Reuss, bassist Oscar Pettiford, and drummer Denzil Best.<\/p>\n

While not thought of as a major composer, during that period Hawkins wrote a series of catchy and swinging riff tunes that put new melodies on top of chord changes taken from standards. Hollywood Stampede has the dozen selections by the group with McGhee; trombonist Vic Dickenson is added on four songs.<\/p>\n

On such Hawkins\u2019 originals as \u201cRifftide,\u201d \u201cStuffy,\u201d \u201cHollywood Stampede,\u201d and \u201cBean Soup,\u201d the tenor and McGhee prove to be a mutually inspiring team, playing music that falls between swing and bop. Also included on this CD are four songs from a 1947 session that has Hawkins leading a septet that includes Miles Davis<\/span><\/a> and trombonist Kai Winding.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=_0djeXnwOew” el_width=”60″ align=”center”][vc_column_text]\n

Body And Soul Revisited (Decca):<\/h3>\n

As one of the few swing giants to not only accept bebop but fully embrace it, Coleman Hawkins was a father figure to the movement. His 1948 unaccompanied tenor performance of \u201cPicasso\u201d (recorded as part of Norman Granz\u2019s multi-artist project The Jazz Scene on Verve) was considered a bit revolutionary and would be an inspiration for Sonny Rollins a decade later.<\/p>\n

But with the rise of cool jazz and the dominance of Lester Young<\/span><\/a> as an influence among young tenor-saxophonists, Coleman Hawkins found himself considered a bit out of date by the early 1950s. While he was as advanced harmonically as nearly any jazz artist, his phrasing, which was frequently on-the-beat on uptempo tunes (unlike his more adventurous phrasing of the mid-1930s), and his large tone were thought of as being part of an earlier style. Although the wiser musicians knew better, some of the younger ones generally overlooked Coleman Hawkins, thinking of him as a historic figure rather than a contemporary artist.<\/p>\n

Coleman Hawkins recorded less frequently during 1950-56 and, while some of his dates could be easy-listening, he was capable of greatness at any time. Body & Soul Revisited has a cross-section of the tenor\u2019s better recordings from 1951-58 including numbers with a string section, a big band<\/span><\/a>, an unaccompanied \u201cFoolin\u2019 Around\u201d from 1955, a hot combo led by Cozy Cole, and three numbers that team Coleman Hawkins with the cool-toned clarinetist Tony Scott.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=K73uSsvhDco” el_width=”60″ align=”center”][vc_column_text]\n

The Hawk In Paris (Bluebird):<\/h3>\n

Coleman Hawkins, a lover of classical music, had always wanted to record a full project with strings. The Hawk In Paris from 1956 was his chance and it is surprising in ways. The tenor recorded a dozen songs having to do with Paris and France (including \u201cApril In Paris,\u201d \u201cMimi,\u201d \u201cLa Vie En Rose,\u201d and \u201cI Love Paris\u201d) while joined by an orchestra performing arrangements by Manny Albam.<\/p>\n

What is surprising is that Hawkins does not merely embrace most of the melodies but plays with a lot of passion, sometimes taking heated double-time lines as on \u201cMy Man\u201d. Unlike on many other jazz with strings projects, Albam\u2019s arrangements do not weigh the music down but inspire Coleman Hawkins to play with creativity throughout.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=MHeXHbb0IE8″ el_width=”60″ align=”center”][vc_column_text]\n

The Hawk Flies High (Original Jazz Classics):<\/h3>\n

In 1957 Coleman Hawkins made a \u201ccomeback\u201d although, as the clich\u00e9 goes, he had never been away. At 53 he was far from a senior citizen but, because his career went so far back, some thought that he might be a bit over-the-hill; that is until they heard him play.<\/p>\n

The Hawk Flies High really started the momentum in Hawkins\u2019 later years. Teamed with much younger players (trumpeter Idrees Sulieman, J.J. Johnson, Hank Jones, guitarist Barry Galbraith, Oscar Pettiford and Jo Jones), Coleman Hawkins is in exuberant form throughout the set, particularly on his joyful and gospel influenced \u201cSanctity,\u201d easily holding his own with his sidemen and showing that he was far from finished.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=GekdPRRqpeE” el_width=”60″ align=”center”][vc_column_text]\n

Coleman Hawkins and Roy Eldridge: At The Opera House (Verve)<\/h3>\n

During a time when Sonny Rollins and John Coltrane were the new voices on the tenor and Lester Young<\/span><\/a> was still capable of greatness, Hawkins seemed to be everywhere.<\/p>\n

In 1957, Coleman Hawkins recorded Hot Swing\/Dixieland with the Red Allen All-Stars (appearing with them on the classic Sound Of Jazz telecast) and more modern music with his former sideman Thelonious Monk<\/span> <\/a>on a session that included John Coltrane. He also co-led an album with Ben Webster (who always considered Hawkins to be his main influence), recorded remakes of early swing charts with the Fletcher Henderson All-Stars, and did well on an album with Dizzy Gillespie and Stan Getz.<\/p>\n

That year he began playing regularly with the fiery and competitive trumpeter Roy Eldridge. Their concerts were invariably quite exciting. At that year\u2019s Newport Jazz Festival (in a set recorded by Verve), they took explosive solos on \u201cI Can\u2019t Believe That You\u2019re In Love With Me.\u201d<\/p>\n

The Opera House CD (which is actually music drawn from two concerts, one apiece in Chicago and Los Angeles) offers a strong example of the Coleman Hawkins\/Eldridge team. While there are concise ballad statements, it is the uptempo tunes (including \u201cBean Stalkin\u201d and \u201cThe Walker\u201d) that are most stirring. The CD also includes a lengthy version of Coleman Hawkins\u2019 \u201cStuffy\u201d by the Jazz At The Philharmonic All-Stars with Eldridge, J.J. Johnson, Stan Getz, Lester Young and Oscar Peterson.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=kM9uVEynwKs” el_width=”60″ align=”center”][vc_column_text]\n

The Genius Of Coleman Hawkins (Verve)<\/h3>\n

This project could be called Coleman Hawkins<\/span> meets the Oscar Peterson Trio Plus One. Recorded during his great year of 1957, Coleman Hawkins is joined by Peterson, guitarist Herb Ellis, bassist Ray Brown, and drummer Alvin Stoller.<\/p>\n

The tenor stretches out on a set of some of his favorite swing standards with the CD reissue adding some alternate takes that show that Hawkins was constantly improvising. Because Peterson was such a remarkable soloist, it is sometimes forgotten how talented and tasteful he could be as an accompanist. Although they did not play together that often, on this album Coleman Hawkins and Peterson sound as if they had worked together every night for years.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=nevROYOJs5s” el_width=”60″ align=”center”][vc_column_text]\n

Duke Ellington Meets Coleman Hawkins (Impulse):<\/h3>\n

1962 resulted in this gem. Hawkins always admired Duke Ellington\u2019s orchestra and, although he never had an opportunity to record with the full group, this set is a delight. Coleman Hawkins plays with a septet drawn from the Ellington band, taking his solos next to cornetist-violinist Ray Nance, trombonist Lawrence Brown, altoist Johnny Hodges, baritonist Harry Carney, and Duke himself on piano. Highlights include \u201cThe Jeep Is Jumpin,\u2019\u201d\u00a0 \u201cLimbo Jazz,\u201d \u201cSelf Portrait Of The Bean\u201d and Coleman Hawkins\u2019 feature on \u201cSolitude.\u201d[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=jW72YpVpNJg” el_width=”60″ align=”center”][vc_column_text]\n

Today And Now (Impulse)
\nDesafinado (Impulse)
\nBack In Bean\u2019s Bag (Columbia)<\/h3>\n

After the success of the Ellington album, Coleman Hawkins was signed by Bob Thiele to the Impulse label where he recorded most of his last significant albums. Today And Now, a quartet date with Flanagan, Holley and Locke, has Hawkins excelling on some unusual material including \u201cGo Lil Liza,\u201d \u201cDon\u2019t Sit Under The Apple Tree,\u201d and \u201cPut On Your Old Grey Bonnet.\u201d He takes the simple melodies for extended rides, giving those folkish themes definitive jazz treatments.<\/p>\n

The unexpected success of the Stan Getz\/Charlie Byrd Jazz Samba album had recently launched a bossa nova craze in the U.S. Coleman Hawkins, who sounded nothing like Getz, seemed like a particularly unlikely candidate for a bossa nova album but on Desafinado, while accompanied by two guitars, bass, drums, percussion and Tommy Flanagan\u2019s claves, Coleman Hawkins sounds very much up for the challenge. His versions of \u201cDesafinado,\u201d \u201cI\u2019ll Looking Over A Four Leaf Clover,\u201d \u201cOne Note Samba,\u201d and \u201cO Pato\u201d are surprisingly effective.<\/p>\n

Also from that fertile year of 1962, Back In Bean\u2019s Bag was Coleman Hawkins\u2019 only full-length collaboration with trumpeter-flugel hornist Clark Terry. C.T.\u2019s perennial good humor and brilliant playing always inspired musicians and that is certainly true in this case. One can hear the joy in Coleman Hawkins\u2019 playing on \u201cJust Squeeze Me,\u201d and the rollicking \u201cFeedin\u2019 The Bean.\u201d[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=fCn6Vurs25c” el_width=”60″ align=”center”][vc_column_text]\n

Wrapped Tight (Impulse):<\/h3>\n

During the first half of the 1960s, Coleman Hawkins gave listeners the impression that he would last forever. He was a living history of jazz who had been a major part of the scene for 45 years, not by merely recreating past glories but by eagerly collaborating with adventurous musicians from each era, Coleman Hawkins had even survived an avant-garde album with Sonny Rollins and Paul Bley; Rollins purposely tried to trip up his idol by playing free. He always looked ahead. When confronted by his earlier recordings with Fletcher Henderson and Mamie Smith, he insisted that the primitive saxophonist was not him but his father or his grandfather!<\/p>\n

Wrapped Tight from Feb. and March 1965 was Coleman Hawkins\u2019<\/span> last worthy recording. Performing with the Barry Harris Trio and sometimes trumpeters Bill Berry and Snooky Young and trombonist Urbie Green, Coleman Hawkins is warm yet explorative on the ballads and still hard-charging on the faster material.<\/p>\n

Coleman Hawkins\u2019 reinvention of the melody of \u201cOut Of Nowhere\u201d is particularly impressive, hinting at John Coltrane<\/span><\/a> and the avant-garde while never revealing the fact that he had matured back in the 1920s.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Hawk Flies High
\nOrrin Keepnews (Producer)
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