| The Hawk Swings | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | 1961 | |||
| Recorded | 1960 | |||
| Studio | NYC | |||
| Genre | Jazz | |||
| Length | 31:33 | |||
| Label | Crown CLP-5207/CST-224 | |||
| Coleman Hawkins chronology | ||||
| ||||
The Hawk Swings is an album by saxophonist Coleman Hawkins which was recorded in 1960 and released on the Crown label. [1] [2]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |    [3] |
Matt Collar of AllMusic states, "the album is a great example of the Hawk's swinging, mainstream jazz style and shows how vital the swing-era style remained well into the modern jazz era". [3]
All compositions by Coleman Hawkins
Swing music is a style of jazz that developed in the United States during the late 1920s and early '30s. It became nationally popular from the mid-1930s. The name derived from its emphasis on the off-beat, or nominally weaker beat. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era, when people were dancing the Lindy Hop. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Harry James, Lionel Hampton, Glenn Miller, Artie Shaw and Django Reinhardt.
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 denied being first and noted his contemporaries 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, 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 known with swing music during the big band era, he had a role in the development of bebop in the 1940s.
The swing era was the period (1933–1947) when big band swing music was the most popular music in the United States. Though this was its most popular period, the music had actually been around since the late 1920s and early 1930s, being played by black bands led by such artists as Duke Ellington, Jimmie Lunceford, Bennie Moten, Cab Calloway, Earl Hines, and Fletcher Henderson, and white bands from the 1920s led by the likes of Jean Goldkette, Russ Morgan and Isham Jones. An early milestone in the era was from "the King of Swing" Benny Goodman's performance at the Palomar Ballroom in Los Angeles on August 21, 1935, bringing the music to the rest of the country. The 1930s also became the era of other great soloists: the tenor saxophonists Coleman Hawkins, Ben Webster and Lester Young; the alto saxophonists Benny Carter and Johnny Hodges; the drummers Chick Webb, Gene Krupa, Jo Jones and Sid Catlett; the pianists Fats Waller and Teddy Wilson; the trumpeters Louis Armstrong, Roy Eldridge, Bunny Berigan, and Rex Stewart.
"The Sound of Jazz" is a 1957 edition of the CBS television series The Seven Lively Arts and was one of the first major programs featuring jazz to air on American network television.
Jazz is a 2001 television documentary miniseries directed by Ken Burns. It was broadcast on PBS in 2001 and was nominated for an Emmy Award for Outstanding Documentary or Nonfiction Series. Its chronological and thematic episodes provided a history of jazz, emphasizing innovative composers and musicians and American history.
James "Osie" Johnson was a jazz drummer, arranger and singer.
Mainstream jazz is a term coined in the 1950s by music journalist Stanley Dance, who considered anything within the popular jazz of the Swing Era "mainstream", and did not include the bebop style.
Alvin Stoller was an American jazz drummer. Though he seems to have been largely forgotten, he was held in high regard in the 1940s and 1950s. He was best known for playing drums on both Mitch Miller's recording of "The Yellow Rose of Texas" and Stan Freberg's parody of Miller's recording.
Grégoire Maret is a jazz harmonica player.
The Hawk Flies High is a 1957 album by jazz tenor saxophonist Coleman Hawkins. Apart from Barry Galbraith and Jo Jones on guitar and drums, the line-up of his accompanying sextet had a bebop background, namely J.J. Johnson on trombone, Idrees Sulieman on trumpet, pianist Hank Jones, and Oscar Pettiford on bass.
This is the discography for jazz record label Prestige Records. Not all original releases are included. Others are listed by the Jazz Discography Project. The earlier New Jazz/Prestige 78rpm releases and the 100/200 series, are omitted. Prestige also released albums on several subsidiary labels including the New Jazz, Bluesville, Moodsville and Swingsville labels.
In the early 1940s in jazz, bebop emerged, led by Charlie Parker, Dizzy Gillespie, Thelonious Monk and others. It helped to shift jazz from danceable popular music towards a more challenging "musician's music." Differing greatly from swing, early bebop divorced itself from dance music, establishing itself more as an art form but lessening its potential popular and commercial value. Since bebop was meant to be listened to, not danced to, it used faster tempos. Beboppers introduced new forms of chromaticism and dissonance into jazz; the dissonant tritone interval became the "most important interval of bebop" and players engaged in a more abstracted form of chord-based improvisation which used "passing" chords, substitute chords, and altered chords. The style of drumming shifted as well to a more elusive and explosive style, in which the ride cymbal was used to keep time, while the snare and bass drum were used for accents. This appealed to a more specialized audiences than earlier forms of jazz, with sophisticated harmonies, fast tempos and often virtuoso musicianship. Bebop musicians often used 1930s standards, especially those from Broadway musicals, as part of their repertoire. Among standards written by bebop musicians are Gillespie's "Salt Peanuts" (1941) and "A Night in Tunisia" (1942), Parker's "Anthropology" (1946), "Yardbird Suite" (1946) and "Scrapple from the Apple" (1947), and Monk's "'Round Midnight" (1944), which is currently the most recorded jazz standard composed by a jazz musician. An early 1940s style known as "jumping the blues" or jump blues used small combos, uptempo music, and blues chord progressions. Jump blues drew on boogie-woogie from the 1930s. Kansas City Jazz in the 1930s as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s. These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds. To hostile critics, bebop seemed to be filled with "racing, nervous phrases". Despite the initial friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach.
Wrapped Tight is an album by the American jazz saxophonist Coleman Hawkins of performances recorded in 1965 for the Impulse! label.
Hawk Eyes is an album by saxophonist Coleman Hawkins which was recorded in 1959 and released on the Prestige label.
Night Hawk is an album by saxophonists Coleman Hawkins with Eddie "Lockjaw" Davis, recorded at the end of 1960 and released on the Swingville label.
Mickey Sheen was a jazz drummer known for swing and mainstream jazz.
Hawkins! Eldridge! Hodges! Alive! At the Village Gate! is a live album by saxophonists Coleman Hawkins and Johnny Hodges with trumpeter Roy Eldridge which was recorded at the Village Gate in 1962 and released on the Verve label.
The Gilded Hawk is an album by saxophonist Coleman Hawkins with an orchestra arranged and conducted by Glenn Osser which was recorded in late 1956 and early 1957 and released on the Capitol label.
The Hawk in Hi Fi is an album by saxophonist Coleman Hawkins with an orchestra arranged and conducted by Billy Byers. It was recorded in early 1956 and released on the RCA Victor label.
Subtone is an advanced technique of tone generation on woodwind instruments, particularly the saxophone and clarinet. It is often described as a soft, breathy timbre that is usually produced in the lowest range of the instrument with low volume.
