| Disorder at the Border | ||||
|---|---|---|---|---|
 | ||||
| Live album by | ||||
| Released | 1973 | |||
| Recorded | September 6 and 13, 1952 | |||
| Venue | Birdland, NYC | |||
| Genre | Jazz | |||
| Length | 43:45 | |||
| Label | Spotlite SPJ 121 | |||
| Coleman Hawkins chronology | ||||
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Disorder at the Border is a live album by saxophonist Coleman Hawkins compiling tracks which were originally broadcast in 1952 and first released on LP in 1973 on the UK Spotlite label. [1] [2] [3] [4]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [5] |
On AllMusic, Scott Yanow called it an "erratically recorded but very interesting release" and states, "Although Hawkins's studio recordings from this era were few and generally found him restricted to playing commercial mood music, his concert and club appearances showed him to still be in prime form. This enjoyable LP has the great tenor leading two different quintets at Birdland on broadcasts that were aired just a week apart. The rhythm section features the then-unknown pianist Horace Silver, bassist Curly Russell and either Art Blakey or Connie Kay on drums. More importantly, trumpeters Roy Eldridge and Howard McGhee (heard separately) inspire the competitive Hawkins to play at his best". [5]
All compositions by Coleman Hawkins except where noted
Coleman Randolph Hawkins, nicknamed "Hawk" and sometimes "Bean", was an American jazz tenor saxophonist. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: "there were some tenor players before him, but the instrument was not an acknowledged jazz horn". Hawkins biographer John Chilton described the prevalent styles of tenor saxophone solos prior to Hawkins as "mooing" and "rubbery belches." Hawkins cited as influences Happy Caldwell, Stump Evans, and Prince Robinson, although he was the first to tailor his method of improvisation to the saxophone rather than imitate the techniques of the clarinet. Hawkins' virtuosic, arpeggiated approach to improvisation, with his characteristic rich, emotional, loud, and vibrato-laden tonal style, was the main influence on a generation of tenor players that included Chu Berry, Charlie Barnet, Tex Beneke, Ben Webster, Vido Musso, Herschel Evans, Buddy Tate, and Don Byas, and through them the later tenormen, Arnett Cobb, Illinois Jacquet, Flip Phillips, Ike Quebec, Al Sears, Paul Gonsalves, and Lucky Thompson. While Hawkins became well known with swing music during the big band era, he had a role in the development of bebop in the 1940s.
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