Coleman Hawkins - On Prestige '2024

Artist	Coleman Hawkins Related artists
Album name	On Prestige
Country
Date	2024
Genre	Jazz
Play time	2:11:02
Format / Bitrate	FLAC Stereo 779 Kbps / 44.1 kHz MP3 320 Kbps
Media	CD
Size	760.72 Mb
Price	$6.95

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Play List

					Quality CD 16-bit \| 44,1 kHz CD 16-bit \| 44,1 kHz
					Quality CD 16-bit \| 44,1 kHz CD 16-bit \| 44,1 kHz
	1. Tracklist:
	2. 1. I'm Beginning To See The Light
	3. 2. Under A Blanket Of Blue
	4. 3. The Red Garland Trio – Red Beans
	5. 4. Smoke Gets In Your Eyes
	6. Rudy Van Gelder Edition)
	7. 6. Kenny Burrell – Tres Palabras [Rudy Van Gelder Remaster 2008]
	8. 7. Eddie "Lockjaw" Davis & Tommy Flanagan – In A Mellow Tone
	9. 8. Then I'll Be Tired Of You
	10. 9. Just A Gigolo
	11. 10. There Is No Greater Love
	12. Rudy Van Gelder Edition)
	13. 12. Moonglow
	14. 13. The Red Garland Trio – I Want To Be Loved
	15. 14. For You, For Me, For Evermore
	16. 15. Kenny Burrell – I Thought About You [Rudy Van Gelder Remaster 2008]
	17. 16. The Sweetest Sounds
	18. 17. Greensleeves
	19. 18. Thelonious Monk – Flyin' Hawk
	20. 19. Soul Blues
	21. 20. Cocktails For Two
	22. 21. I'll Get By
	23. 22. Tommy Flanagan – Make Someone Happy
	24. 23. Trouble Is A Man
	25. 24. Bean And The Boys
	26. moreAlthough was the top tenor in jazz in 1924, his staccato runs and use of slap-tonguing sound quite dated today. However, after Louis Armstrong joined Henderson later in the year, Hawkins learned from the cornetist's relaxed legato style and advanced quickly. By 1925, Hawkins was truly a major soloist, and the following year his solo on "Stampede" became influential. Hawk would be with Fletcher Henderson's Orchestra up to 1934, and during this time he was the obvious pacesetter among tenors; Bud Freeman was about the only tenor who did not sound like a close relative of the hard-toned Hawkins. In addition to his solos with Henderson, Hawkins backed some blues singers, recorded with McKinney's Cotton Pickers, and, with Red McKenzie in 1929, he cut his first classic ballad statement on "One Hour."
	27. By 1934, had tired of the struggling Fletcher Henderson Orchestra and he moved to Europe, spending five years overseas. He played at first with Jack Hylton's Orchestra in England, and then freelanced throughout the continent. His most famous recording from this period was a 1937 date with Benny Carter, Alix Combille, Andre Ekyan, Django Reinhardt, and Stephane Grappelli that resulted in classic renditions of "Crazy Rhythm" and "Honeysuckle Rose." With World War II coming close, Hawkins returned to the U.S. in 1939. Although Lester Young had emerged with a totally new style on tenor, Hawkins showed that he was still a dominant force by winning a few heated jam sessions. His recording of "Body and Soul" that year became his most famous record. In 1940, he led a big band that failed to catch on, so Hawkins broke it up and became a fixture on 52nd Street. Some of his finest recordings were cut during the first half of the 1940s, including a stunning quartet version of "The Man I Love." Although he was already a 20-year veteran, Hawkins encouraged the younger bop-oriented musicians and did not need to adjust his harmonically advanced style in order to play with them. He used Thelonious Monk in his 1944 quartet; led the first official bop record session ; had Oscar Pettiford, Miles Davis, and Max Roach as sidemen early in their careers; toured in California with a sextet featuring Howard McGhee; and in 1946, utilized J.J. Johnson and Fats Navarro on record dates. Hawkins toured with Jazz at the Philharmonic several times during 1946-1950, visited Europe on a few occasions, and in 1948 recorded the first unaccompanied saxophone solo, "Picasso."
	28. By the early '50s, the Lester Young-influenced Four Brothers sound had become a much greater influence on young tenors than Hawkins' style, and he was considered by some to be out of fashion. However, Hawkins kept on working and occasionally recording, and by the mid-'50s was experiencing a renaissance. The up-and-coming Sonny Rollins considered Hawkins his main influence, Hawk started teaming up regularly with Roy Eldridge in an exciting quintet , and he proved to still be in his prime. appeared in a wide variety of settings, from Red Allen's heated Dixieland band at the Metropole and leading a bop date featuring Idrees Sulieman and J.J. Johnson, to guest appearances on records that included Thelonious Monk, John Coltrane, and Max Roach and Eric Dolphy. During the first half of the 1960s, had an opportunity to record with Duke Ellington, collaborated on one somewhat eccentric session with Sonny Rollins, and even did a bossa nova album. By 1965, Hawkins was even showing the influence of John Coltrane in his explorative flights and seemed ageless
	29. Unfortunately, 1965 was ' last good year. Whether it was senility or frustration, Hawkins began to lose interest in life. He practically quit eating, increased his drinking, and quickly wasted away. Other than a surprisingly effective appearance with Jazz at the Philharmonic in early 1969, very little of Hawkins' work during his final three and a half years is up to the level one would expect from the great master. However, there are dozens of superb recordings currently available and, as Eddie Jefferson said in his vocalese version of "Body and Soul," "he was the king of the saxophone." © Scott Yanow
	30. On Prestige.rar - 760.8 MB