| The Hawk in Paris | ||||
|---|---|---|---|---|
 | ||||
| Studio album by Coleman Hawkins with Manny Albam and His Orchestra | ||||
| Released | 1957 | |||
| Recorded | July 9, 11 and 13, 1956 | |||
| Studio | Webster Hall, NYC | |||
| Genre | Jazz | |||
| Length | 38:48 | |||
| Label | Vik LX-1059 | |||
| Producer | Jack Lewis | |||
| Coleman Hawkins chronology | ||||
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The Hawk in Paris is an album by saxophonist Coleman Hawkins featuring compositions related to Paris performed with an orchestra arranged and conducted by Manny Albam which was recorded in 1956 for the RCA Records subsidiary Vik label. [1] [2]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [3] |
Scott Yanow of AllMusic states, "Manny Albam's arrangements mostly avoid being muzaky and quite often are creative and witty. What could have been a novelty or an insipid affair is actually one of Coleman Hawkins's more memorable albums". [3]
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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