Coleman Hawkins Encounters Ben Webster (Remastered) Coleman Hawkins & Ben Webster

• 1 Blues For Yolanda 06:48
• 2 It Never Entered My Mind 05:50
• 3 La Rosita 05:06
• 4 You'd Be So Nice To Come Home To 04:19
• 5 Prisoner Of Love 04:16
• 6 Tangerine 05:24
• 7 Shine On Harvest Moon 04:51
• Total Runtime 36:34

Info zu Coleman Hawkins Encounters Ben Webster (Remastered)

Norman Granz produzierte in den 1950er Jahre eine Serie von Aufnahmen, für die er großartige Bläser mit dem Oscar Peterson Trio zusammenbrachte. Mit Ben Webster und Coleman Hawkins lud er 1957 die besten Tenor-Saxophonisten in sein Studio, die zu dieser Zeit spielten. Das Konzept mag simpel klingen, doch die beiden Musiker entwickeln auf Coleman Hawkins Encounters Ben Webster eine verblüffende Tiefe und verwandeln oft gehörte Jazz-Standards in die schönsten Versionen, die jemals auf Platte gebannt wurden.

Im moderaten Swing der Aufnahme offenbaren sich die größten Stärken der Saxophonisten: ihre tiefen, charakteristischen Töne und ihre einfühlsamen Interpretationen. Genießen Sie die Wärme und Lyrik des Albums, die im Modern Jazz oft zugunsten komplexer Rhythmen und Melodien verlorengeht. An der Gitarre spielt Herb Ellis, am Piano Oscar Peterson und am Schlagzeug Alvin Stoller. Ein essentieller Bestandteil jeder Sammlung!

Coleman Hawkins, tenor saxophone
Ben Webster, tenor saxophone
Oscar Peterson, piano
Herb Ellis, guitar
Ray Brown, bass
Alvin Stoller, drums

Recorded at Capitol Studios, Hollywood, California on October 16, 1957
Produced by Norman Granz

Digitally remastered

Coleman Hawkins
Coleman Hawkins’s musical career lasted more than fifty years. Although his tenor saxophone style continued to evolve for about forty of those years, certain characteristics were constant: he always projected a big-toned and aggressive improvisational style grounded in a firm grasp of music theory and inspired by an appetite for fresh challenges.

Coleman Hawkins (1904–69) was born in St. Joseph, Missouri. Hawkins’s earliest recordings, with singer Mamie Smith in 1922 and 1923, reveal elements of his early style: an extremely percussive attack of notes and a heavy on-the-beat phrasing. His reputation grew steadily after he joined pianist Fletcher Henderson’s band in 1923, and he was Henderson’s most advanced soloist until Louis Armstrong joined the group in 1924.

In 1934, Hawkins quit the Henderson band and traveled to England and Europe for a stay that lasted about five years. He greatly appreciated European culture and liked being treated like an artist, but few of the musicians he played with there could challenge him. One of his most successful European recording sessions took place in Paris in 1937, and features short solo spots for two musicians who could stimulate him, Belgian guitarist Django Reinhardt and American alto saxophonist Benny Carter, who was also living in Europe at the time.

Soon after Hawkins returned to the United States in 1939, he made his most famous record. Since the late 1920s, Hawkins had been developing a florid, rhapsodic approach to the slower songs in his repertoire. His work bore fruit on "Body and Soul," a flight of fancy that only briefly refers to the song’s original melody. Despite its abstraction, it clicked with the public and Hawkins was required to play it for the rest of his career.

From the mid-1940s on, Hawkins preferred to hire young modern musicians for his band. He recorded with trumpeters Dizzy Gillespie, Howard McGhee, and Theodore "Fats" Navarro, pianists Thelonious Monk and Hank Jones, trombonist J. J. Johnson, and vibraphonist Milt Jackson. In the 1960s, he was one of the few musicians of his generation to be sought out by modernists like drummer Max Roach and his fellow tenor saxophonist Sonny Rollins.

Despite Hawkins’s sympathy toward young, exploratory musicians, some of his most successful recordings of the 1960s were encounters with his Swing-Era peers, such as tenor saxophonist Ben Webster, who had long emulated Hawkins’s big and breathy sound, alto saxophonist Benny Carter, and Duke Ellington. (Carl Woideck, Excerpted from Ken Burns’ Jazz: The Definitive Coleman Hawkins)

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