Coleman Hawkins


 оулмен ’окинс
21.11.1904, —ент-ƒжозеф, шт. ћиссури - 19.05.1969, Ќью-…орк

“енор-саксофонист, создатель исполнительской школы, первый выдающийс¤ солист-импровизатор. –одилс¤ в музыкальной семье, с п¤ти лет играл на фортепиано, с семи лет Ч на виолончели, с дев¤ти Ч на тенор-саксофоне. — 1918 года жил в „икаго, потом занималс¤ композицией и теорией музыки в “опике (шт.  анзас), играл в местных оркестрах, а в 1923 году отправилс¤ на гастроли с блюзовой вокалисткой ћамми —мит. Ќа одном из концертов его услышал ‘летчер ’ендерсон и пригласил в свой оркестр. ¬ 1924-34 г.г. ’окинс был солирующим тенор-саксофонистом в бэнде ’ендерсона, выработал сильный звук, долго и тщательно подбира¤ жесткие трости. Ђ√лупо, если теб¤ не слышат, Ч говорил он. Ч —аксофон должен звучать не слабее трубы или тромбонаї.

Ћучшие соло ’окинса прозвучали в композици¤х УThe StampedeФ, УSt. Louis ShuffleФ, УSugar Foot StompФ, УDee BluesФ, УOne HourФ и др. ¬ 1934-39 жил в ≈вропе, работал в английском бэнде ƒжека ’илтона, выступал с европейскими музыкантами, в том числе в ѕариже с ƒжанго –ейнхардтом. —ама¤ знаменита¤ запись европейского периода Ч УCrazy RhythmФ. ¬ 1939 году, вернувшись в Ќью…орк, собрал бэнд из дев¤ти человек и записал на фирме УBluebirdФ хит Ч балладу УBody And SoulФ, после чего стал самым известным джазменом страны.

¬ 1940-41 руководил биг-бэндом, но в дальнейшем предпочитал собирать небольшие ансамбли или быть приглашенным солистом. ¬ 1944 году вместе со своим другом и партнером –оем Ёлдриджем стал одним из пионеров бибопа, играл на джемсэйшнз, в 1944-45 собрал секстет в  алифорнии с —эром „арльзом “омпсоном, ’ауардом ћак√и и ƒензилом ¬естом. ¬ 50-е годы вошел в антрепризу Ќормана √рэнца УJazz At The PhilharmonicФ. ¬ 1967 году участвовал в битве Ђ“итанов тенор-саксофонаї (с ним играли —онни –оллинз, ƒжон  олтрейн, ёзеф Ћатиф, «ут —имc). ¬ 1968 году гастролировал с трио ќскара ѕитерсона.

“≈ —“: | 13 июл¤ 2003 г.

Coleman Hawkins Ц Hawk Eyes!
Coleman Hawkins, tenor sax
Charlie Shavers, trumpet
Tiny Grimes, guitar
Ray Bryan, piano
George Duvivier, bass
Osie Johnson, drums
(с вкладыша к диску)

One thing Coleman Hawkins can never be accused of is being dull. His dynamic personality should be the envy of his confreres, young and old.

Presently, Hawkins is in yet another phase of his lengthy and illustrious career. His playing, for the most part, is now hard, relentless and less concerned with the harmonic richness which marked his style of the Forties.

Whitney Balliett, in an interesting piece in УThe New YorkerФ (June 27, 1959), described his early work (with the Fletcher Henderson orchestra in the early Thirties) as Уrough and aggressiveФ and added, УHis tone tended to be harsh and woody and he used a great many notes, which bumped up and down the scale in the unremitting, staccato manner of a pneumatic drill.Ф

Balliett went on to say that his middle period playing (the 1940Тs period alluded to before) Уoften left the listener vaguely dissatisfiedФ. To this I take strong exception but agree, as Balliett further states, that, УHawkins can now be volcanic, His present style is marked primarily by a slight tightening of tone, which occasionally resembles the sound he achieved at the onset of his career.Ф

The cause for this change is, I believe, environmental. In the mid-forties, Hawkins allied himself with the music and musicians of the Bob movement. In the Fifties he went from sessions at the УCentral PlazaФ (noted for its weekend bashes featuring various УdixielandФ musicians) to weekly employed at УThe MetropoleФ, a rambling 7th Avenue bar where the emphasis is usually on an extroverted brand of mainstream jazz. The climate in which Hawk has been playing has produced a mid-century man who communicates with a fierce abandon which belies his own mid-century years.

For example, listen to his original recording of УThrough For The NightФ (first done on Keynote in 1944 with Trummy Young, Earl Hines, Cozy Cole and Joe Thomas and now available on УEmArcyФ), after having heard the new version of Trummy YoungТs riff tune that opens the set here. HawkТs bridge solo in the second chorus heralds his heated, full-chorus solo eight bars later.

The sound he lends to the ensemble of his own original УHawk EyesФ is echoes in the sonority of his soloТs urgency.

His earthy figures set a strong mood in the slow blues УCТmon InФ, as first Duvivier backs him with the rest of the rhythm section joining in one at a time until it is whole. Hawk closes the long blues, after everyone has spoken a piece (Shavers twice, open and muted), with just DuvivierТs strong pulse in back of him once again. At the very and he stands powerfully alone.

He tears notes from his horn to help set Osie JohnsonТs blues, УStealinТ The BeanФ, into motion. In the numberТs final solo, with the band riffing him on, Hawk blows some spine jostling notes.

Even in his ballad treatment of УLa RositaФ, which finds him as the solo horn, Hawk ascends from a simple, breathy exposition to some climatic cries.

These sorties by Hawkins are not the complete story of the album by any means. He has surrounded himself with some excellent and very compatible musicians.

In 1944, the same year that the first УThrough For The NightФ was cut, hawk recorded with an outgoing trumpet player in a number called УEl Salon de GutbuckerФ.

That trumpeter was Charlie Shavers who he shows that he is as volatile and effervescent a performer as ever. His sense of humor is as great as his range. Both attributes are in full play during his work on the title number, УHawk EyesФ. The exchanges between Charlie and Hawk are very effective here.

Tiny Grimes, who has come in for much praise lately from musicians, critics and fans alike, is Ray Bryant. As a working pianist, he has played with a variety of groups and filled the needs of all admirable. The easy flow of his playing here points up his relaxed keyboard style and feeling for the blues.

George Duvivier is not an unaccomplished soloist, as he indicates in several instances here, but his main worth is the musicianly aplomb with which he lends his rhythmic voice to the group.

Osie Johnson, like Duvivier a writer-arranger, also brings his extra knowledge to the instrumentalistТs approach which helps to make this a Уthinking manТsФ rhythm section.

Hawk Eyes stands for keep visual perception. In the jazz vernacular it indicates a desire to hear УBeanФ (another of Coleman HawkinsТ nicknames) play or a general preference for his playing. To have Hawk Eyes in this sense means acute aural perception.

Recording by Van Gedler
Recorded in Hackensack, NJ, April 3, 1959.

[29 ма¤ 2002 г.]

—сылки на Coleman Hawkins:
1. Coleman Hawkins Neighborhood Festival. Remembering Coleman Hawkins
2. ѕро ’оукинса на
3. Father of the Tenor Sax
4. Coleman "Hawk" Hawkins

CD-audio & mp3(256K):
- Hawk Eyes!
- The Hawk Relaxes

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