Coleman Hawkins sessionography

Here comes the beginning - a partial (mostly studio) sessionography that I have collected from various sources (jazzdisco.org), CD covers etc... I focus mainly on the period until the 50's - from those years forward, the information is almost always readily available.

I hope to update from time to time, as soon as I learn anything new. Any information are welcomed and appreciated, leave them in comments!
Last update on Feb 23, 2011

Fletcher Henderson And His Orchestra / The Original Memphis Five / Fletcher Henderson's Orchestra / Trixie's Down Home Syncopators

Louis Armstrong, Elmer Chambers, Howard Scott (cor) Charlie Green (tb) Ralph Escudero (tu) Buster Bailey (cl) Don Redman (as) Coleman Hawkins (ts) Fletcher Henderson (p) Charlie Dixon (bj) Kaiser Marshall (d) Trixie Smith (vo)

NYC, January, 1925

1995-1,2              EVERYBODY LOVES MY BABY     Paramount unissued

1996-1,2              HOW COME YOU DO ME LIKE YOU DO?                -

Ma Rainey And Her Georgia Band

Joe Smith (cor) Charlie Green (tb) Buster Bailey (cl) Coleman Hawkins (bass sax) Fletcher Henderson (p) Charlie Dixon (bj) Kaiser Marshall (d) Ma Rainey (vo)

NYC, early December, 1925

2369-2  SLAVE TO THE BLUES     Paramount 12332; Milestone MLP 2001, M 47021, MCD 47021-2

2370-1  YONDER COME THE BLUES          Paramount 12357

2370-2  YONDER COME THE BLUES          Paramount 12357; Riverside RLP 12-108

2371-1  TITANIC MAN BLUES     Paramount 12374; Riverside RLP 12-113

2371-2  TITANIC MAN BLUES     Paramount 12374

2372-2  CHAIN GANG BLUES      Paramount 12338; Riverside RLP 1045; Milestone MLP 2008, M 47021, MCD 47021-2

2373-1  BESSEMER BOUND BLUES           Paramount 12374

2373-2  BESSEMER BOUND BLUES           Paramount 12374; Milestone MLP 2001, M 47021, MCD 47021-2

2374-1  OH, MY BABE BLUES      Paramount 12332; Riverside RLP 12-121

2375-2  WRINGING AND TWISTING BLUES          Paramount 12338; Riverside RLP 1045, RLP 12-134; Milestone MLP 2008, M 47021, MCD 47021-2

2376-2  STACK O'LEE BLUES        Paramount 12357; Riverside RLP 12-108

Clarence Williams' Orchestra

Ed Allen (cor) Ed Cuffee (tb) Buster Bailey (cl, as) Coleman Hawkins (ts) Clarence Williams (p) Cyrus St. Clair (tuba)

NYC, circa October, 1927

2887-2  SNAKE 'EM UP  Paramount 12587; Riverside RLP 1017

2888-2  JINGLES               -

Fletcher Henderson And His Orchestra

Tommy Ladnier, Joe Smith (cor) Russell Smith (tp) Charlie Green, Jimmy Harrison (tb) June Coles (tu) Buster Bailey (cl) Don Pasquall (as) Coleman Hawkins (ts) Fletcher Henderson (p) Charlie Dixon (bj) Kaiser Marshall (d) Don Redman (arr)

NYC, early 1928

2859      HOP OFF             Paramount 12550; Riverside RLP 12-115

The Mound City Blue Blowers

Glenn Miller (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Eddie Condon (bj) Jack Bland (g) Al Morgan or Pops Foster (b) Gene Krupa (d) Red McKenzie (comb, vo)

NYC, November 14, 1929

57145-3                HELLO LOLA       Victor V 38100; RCA "X" LX 3005

57146-3                ONE HOUR (IF I COULD BE WITH YOU ONE HOUR TONIGHT)      Victor V 38100; RCA "X" LX 3005; RCA Victor LPV 501

Fletcher Henderson And His Orchestra

Henry "Red" Allen, Russell Smith, Bobby Stark (tp) Claude Jones, Dicky Wells (tb) Hilton Jefferson (as) Russell Procope (as, cl) Coleman Hawkins (ts) Fletcher Henderson (p) Bernard Addison (g) John Kirby (b) Walter Johnson (d)

NYC, September 22, 1933

265135-2             QUEER NOTIONS             Columbia (E) CB 678; Decca 18169; Prestige PR 7645

265136-3             IT'S THE TALK OF THE TOWN      Columbia 2825-D, (E) CB 678; Prestige PR 7645

265137-2             NIGHT LIFE         Columbia (E) CB 727; Decca 18254; Prestige PR 7645

265138-2             NAGASAKI         Columbia 2825-D, (E) CB 727; Vocalion 3322; Prestige PR 7645

Coleman Hawkins And His Orchestra

Henry "Red" Allen (tp) J.C. Higginbotham (tb) Hilton Jefferson (as) Coleman Hawkins (ts) Horace Henderson (p) Bernard Addison (g) John Kirby (b) Walter Johnson (d)

NYC, September 29, 1933

265143-2             THE DAY YOU CAME ALONG      Parlophone (E) R 1685; Prestige PR 7647

265144-2             JAMAICA SHOUT             OKeh 41566; Parlophone (E) R 1685; Decca 3358; Prestige PR 7647

265145-2             HEARTBREAK BLUES       OKeh 41566; Parlophone (E) R 1766; Prestige PR 7647

Horace Henderson And Fletcher Henderson's Orchestra

Henry "Red" Allen, Russell Smith, Bobby Stark (tp) Claude Jones, Dicky Wells (tb) Hilton Jefferson (as) Russell Procope (as, cl) Coleman Hawkins (ts) Horace Henderson (p) Bernard Addison (g) John Kirby (b) Walter Johnson (d) Fletcher Henderson (arr?)

Chicago, IL, October 3, 1933

265150-2             HAPPY FEET       Parlophone (E) R 1792; Decca 18172; Odeon A 277481, 031811; Prestige PR 7645

265151-1             RHYTHM CRAZY (I'M RHYTHM CRAZY NOW)       Parlophone (E) R 1743; Decca 18171; Odeon 031811, OR 1743, 194218; Prestige PR 7645

265152-1             OL' MAN RIVER                                Parlophone (E) R 1766, A 7654, B 71139; Decca 18172; Prestige PR 7645

265153-2             MINNIE THE MOOCHER'S WEDDING DAY            Parlophone (E) R 2031, A 6020, A 7654; Decca 18171; Odeon A 277481; Prestige PR 7645

265154-1             AIN'TCHA GLAD?             Parlophone (E) R 1717, A 6020; Odeon 194218, 031812; Prestige PR 7645

265155-1             I'VE GOT TO SING A TORCH SONG          Columbia (E) CB 701; Decca 18254; Prestige PR 7645

Coleman Hawkins Duo

Coleman Hawkins (ts) Buck Washington (p)

NYC, March 8, 1934

265172-2             IT SENDS ME      Parlophone (E) R 1837; Prestige PR 7647

265173-2             I AIN'T GOT NOBODY     Parlophone (E) R 1825, DPY 1021; Decca 18252; Odeon A 286084, B 35629; Prestige PR 7647

265175-1             ON THE SUNNY SIDE OF THE STREET       Parlophone (E) R 1825; Odeon A 286084, D 5114; Prestige PR 7647

Coleman Hawkins Quartet/Duo

Coleman Hawkins (ts) Stanley Black (p) Albert Harris (g -1,2) Tiny Winters (b -1,2)

London, England, November 18, 1934

1. CE-6739-1       LULLABY              PARLOPHONE (E) R 2007; Odeon A 2365, B 35629; Prestige PR 7647

2. CE-6740-1       LADY BE GOOD Parlophone (E) R 2007, B 27672; Prestige PR 7647

3. CE-6741-1       LOST IN A FOG  Parlophone (E) R 2041, B 27672; Decca 18252; Prestige PR 7647

4. CE-6742-1       HONEYSUCKLE ROSE      Parlophone (E) R 2041; Decca 3358, 3881; Prestige PR 7647

Coleman Hawkins Avec Michel Warlop Et Son Orchestre

Pierre Allier, Arthur Briggs, Noel Chiboust (tp) Guy Paquinet (tb) Andre Ekyan, Charles Lisee (as) Alix Combelle, Coleman Hawkins (ts) Stephane Grappelli (p) Django Reinhardt (g) Eugene D'Hellemmes (b) Maurice Chailloux (d) Michel Warlop (dir)

Paris, France, March 2, 1935

OLA346-1            BLUE MOON      His Master's Voice K-7455, B-8388; Victor A-1419; Prestige PR 7633

OLA347-1            AVALON              His Master's Voice K-7527, B-8388; Prestige PR 7633

OLA348-1            WHAT A DIFFERENCE A DAY MADE         His Master's Voice K-7455, B-8494; Prestige PR 7633

Coleman Hawkins (ts) Stephane Grappelli (p) Django Reinhardt (g) Eugene D'Hellemmes (b) Maurice Chailloux (d) Michel Warlop (dir)

Paris, France, March 2, 1935

OLA349-1            STARDUST          His Master's Voice K-7527, B-8420, HN-4476; Electrola (G) EG-3695; Victor A-1419, DC-15; Prestige PR 7633

Ernst Hoellerhagen, cl, as; Hugo Peritz, Omer de Cock, ts; Ernst Berner, p; Billy Toffel, g; James Gobalet, sb; Benny Peritz, d; Coleman Hawkins, p.

Zurich, May 4, 1936.

TIGER RAG
IT MAY NOT BE TRUE

Coleman Hawkins, ts; Jack Bulterman, George van Helvoirt, tp; Marcel Thielmans, tb; Sal Doof, as; Wim Poppink, cl, as, bs; Andre van den Ouderaa, cl, ts, vln, Nico de Rooy, p; Fritz Reinders, g; Jack Pet, sb; Kees Kranenburg, d; Anny de Reuver, vcl;

Casino Hamdorff, Laren, April 27, 1937.

I WANNA GO BACK TO HARLEM

CONSOLATION

A STRANGE FACT

ORIGINAL DIXIELAND ONE STEP

SMILES

SOMETHING IS GONNA GIVE ME AWAY

Coleman Hawkins And His All-Star Jam Band

Alix Combelle (cl, ts) Andre Ekyan (as) Benny Carter (as, tp, arr) Coleman Hawkins (ts) Stephane Grappelli (p) Django Reinhardt (g) Eugene D'Hellemmes (b) Tommy Benford (d)

Paris, France, April 28, 1937

OLA1742-1          HONEYSUCKLE ROSE      Swing (F) 1; La Voix De Son Maitre (F) 7EMF 26, FELP 174; Django (F) CHTX 240551; Pathe (F) C054-16004; Prestige PR 7633

OLA1743-1          CRAZY RHYTHM               -

OLA1744-1          OUT OF NOWHERE        La Voix De Son Maitre (F) FELP 174; Django (F) CHTX 240551; Pathe (F) C054-16004; His Master's Voice K-8511; Prestige PR 7633

OLA1745-1          SWEET GEORGIA BROWN           La Voix De Son Maitre (F) FELP 174; Django (F) CHTX 240551; Pathe (F) C054-16004; His Master's Voice K-8511, K-9185; Prestige PR 7633

Coleman Hawkins, ts; Freddy Johnson, p.

Hilversum, May 26, 1937.

LAMENTATION
DEVOTION

Coleman Hawkins, ts; Freddy Johnson, p.

Hilversum, August 18, 1937.

STARDUST

WELL, ALL RIGHT THEN

Coleman Hawkins, ts; Freddy Johnson, p; Maurice van Cleef, d.

Hilversum, June 14, 1938.

BLUES EVERMORE

DEAR OLD SOUTHLAND

‘WAY DOWN YONDER IN NEW ORLEANS

Coleman Hawkins and his Orchestra : Tommy Lindsay, Joe Guy, tp; Earl Hardy, tb; Jackie Fields, Eustis Moore, as; Coleman Hawkins, ts; Gene Rodgers, p; William Oscar Smith, g; Arthur Herbert, d.

New York, October 11, 1939.

042936-1 BODY AND SOUL Bluebird B 10523

Lionel Hampton and his Orchestra : Benny Carter, tp; Edmond Hall, cl; Coleman Hawkins, ts; Lionel Hampton, vib; Joe Sullivan, p; Freddie Green, g; Artie Bernstein, b; Zutty Singleton, d.

New York, December 21, 1939.

046024-1 DINAH Victor 26557

Coleman Hawkins' All-Star Octet : Benny Carter, tp; J.C. Higginbotham, tb; Danny Polo, cl; Coleman Hawkins, ts; Gene Rodgers, p; Lawrence Lucie, g; Johnny Williams, b; Walter Johnson, d.

New York, January 3, 1940.

046156-1 WHEN DAY IS DONE Bluebird B 10693

Coleman Hawkins, ts; Benny Carter, tp, as; Danny Polo, cl; Joe Sullivan, p; Ulysses Livingston, g, vcl; Artie Shapiro, sb; George Wettling, d; Joe Turner, vcl.

New York, January 15, 1940.

POM POM

Coleman Hawkins and the Chocolate Dandies : Roy Eldridge, tp; Benny Carter, cl, as, p; Coleman Hawkins, ts; Bernard Addison, g; John Kirby, b; Sid Catlett, d.

New York, May 1940.

R 2995-4 SMACK Commodore 624056

R 2997 I CAN'T BELIEVE THAT YOU'RE IN LOVE WITH ME Commodore 624056

R 2998-2 DEDICATION Commodore 624056

Coleman Hawkins and his Orchestra : Tommy Stevenson, Joe Guy, Tommy Lindsay, Nelson Bryant, tp; William Cato, Sandy Williams, Claude Jones, tb; Eustis Moore, Jackie Fields, Ernie Powell, as; Coleman Hawkins, Kermitt Scott, ts; Gene Rodgers, p; Jackie Fields, g; Billy Taylor, b; J.C. Heard, d.

New York, August 9, 1940.

27852-1 ROCKY COMFORT Okeh 6284

PASSIN‘ IT AROUND

SERENADE TO A SLEEPING BEAUTY

FORGIVE A FOOL

Metronome All-Star Band : Harry James, Ziggy Elman, Cootie Williams, tp; Tommy Dorsey, J.C. Higginbotham, tb; Benny Carter, Toots Mondello, as; Tex Beneke, Coleman Hawkins, ts; Count Basie, p; Charlie Christian, g; Artie Bernstein, b; Buddy Rich, d.

New York, January 16, 1941.

060332-1 ONE O'CLOCK JUMP Victor 28925

Count Basie and his Orchestra : Buck Clayton, Harry Edison, Al Killian, Ed Lewis, tp; Ed Cuffee, Dan Minor, Dickie Wells, tb; Tab Smith, Earl Warren, as; Don Byas, Coleman Hawkins, Buddy Tate, ts; Jack Washington, bs; Count Basie, p; Freddie Green, g; Walter Page, b; Jo Jones, d.

Chicago, April 10, 1941.

C3-678-1 9-20 SPECIAL Okeh 6643

C3-3680-1 FEEDIN' THE BEAN Okeh 6643

Coleman Hawkins acc. by Leonard Feather's Esquire All Stars : Cootie Williams, tp; Edmond Hall, cl; Coleman Hawkins, ts; Art Tatum, p; Al Casey, g; Oscar Pettiford, b; Sid Catlett, d.

New York, December 4, 1943.

A4691-1 ESQUIRE BOUNCE Commodore 547

A4693-1 MY IDEAL Commodore 548

BOFF BOFF (MOP MOP)

ESQUIRE BOUNCE

Coleman Hawkins and his Orchestra : Bill Coleman, tp; Andy Fitzgerald, cl; Coleman Hawkins, ts; Ellis Larkins, p; Al Casey, g; Oscar Pettiford, b; Shelly Manne, d.

New York, December 8, 1943.

T 1905 VOODTE Signature 28101

T 1906 HOW DEEP IS THE OCEAN Signature 28102

T 1907 HAWKINS' BARREL HOUSE Signature 28101

T 1908 STUMPY Signature 28102

Coleman Hawkins Quintet : Coleman Hawkins ts; Ellis Larkins, p; Jimmy Shirley, g; Oscar Pettiford, b; Max Roach, d.

New York, December 18, 1943.

T 1917 LOVER COME BACK TO ME Brunswick BL 58030

19001 BLUES CHANGES Brunswick Bl 58030

Coleman Hawkins' Swing Four : Coleman Hawkins, ts; Eddie Heywood, p; Oscar Pettiford, b; Shelly Manne, d.

New York, December 23, 1943.

T1923 CRAZY RHYTHM signature 28104

T1924 GET HAPPY Signature 28104

T 19005 THE MAN I LOVE Signature 9001

Coleman Hawkins' Swing Four : Coleman Hawkins, ts; Eddie Heywood, p; Oscar Pettiford, b; Shelly Manne, d.

New York, December 23, 1943.

T 19006 SWEET LORRAINE Signature 9001

Coleman Hawkins, ts; Art Tatum, p.

Esquire Metropolitan Opera House Jam Session.

Metropolitan Opera House, New York, January 18, 1944.

MY IDEAL V-Disc 655

Coleman Hawkins Quintet featuring Teddy Wilson, : Roy Eldridge, tp; Coleman Hawkins, ts; Teddy Wilson, p; Billy Taylor, b; Cozy Cole, d.

New York, January 31, 1944.

KHL 9-3 I ONLY HAVE EYES FOR YOU Keynote K 609

KHL 10-2 `S WONDERFUL Keynote K 609

KHL 11-1 I'M IN THE MOOD FOR LOVE Keynote K610

KHL 12-3 "BEAN" AT THE MET Keynote K 610

Coleman Hawkins and his Orchestra : Dizzy Gillespie, Vic Coulsen Ed Vandever, tp; Leo Parker, Leonard Lowry, as; Coleman Hawkins, Don Byas, Ray Abrams, ts; Budd Johnson, bs; Clyde Hart, p; Oscar Pettiford, b; Max Roach, d.

New York, February 16, 1944.

R1000 WOOY'N YOU Apollo 751

R1001 BU-DEE-DAHT Apollo 752

R1002 YESTERDAYS Apollo 752

Coleman Hawkins Quartet : Coleman Hawkins, ts; Teddy Wilson, p; Israel Crosby, b; Cozy Cole, d.

New York, February 17, 1944.

HL 13 FLAME THROWER Keynote K 611

HL 14 IMAGINATION Keynote K 612

HL 15 NIGHT AND DAY Keynote K 611

HL 16 CATTIN' AT KEYNOTE Keynote K 612

Coleman Hawkins and his Orchestra : Dizzy Gillespie, Vic Coulsen Ed Vandever, tp; Leo Parker, Leonard Lowry, as; Coleman Hawkins, Don Byas, Ray Abrams, ts; Budd Johnson, ts; Clyde Hart, p; Oscar Pettiford, b; Max Roach, d.

New York, February, 22, 1944.

R1003 DISORDER AT THE BORDER Apollo 753

R1004 FEELING ZERO Apollo 753

R1005 RAINBOW MIST Apollo 751

Cozy Cole All Stars : Joe Thomas, tp; Trummy Young, tb; Coleman Hawkins, ts; Earl Hines, p; Teddy Walters, g; Billy Taylor, b; Cozy Cole, d.

New York, February 22, 1944.

HLK 17-1 BLUE MOON Keynote K 1300

HLK 18-6 FATHER CO-OPERATES Keynote K 1301

HLK 19-2 JUST ONE MORE CHANCE Keynote K 1300

HLK 20-2 THRU- FOR THE NIGHT Keynote K 1301

Coleman Hawkins, Bud Johnson, ts; Emmet Berry, tp; Walter „Foots“ Thomas, as; Johnny Guarnieri, p; Mack Shopnick, b; Cozy Cole, d.

New York, May 1, 1944.

OL‘ MAN RIVER

WRAP YOUR TROUBLES IN DREAMS

Auld - Hawkins - Webster Sextet : Charlie Shavers, tp; Ben Webster, cl, ts; Georgie Auld, as, ts; Coleman Hawkins, ts; Bill Rowland, p; Hy White, g; Israel Crosby, b; Specs Powell, d.

New York, May 17, 1944.

R 1016 PICK-UP BOYS Apollo 754

R 1017 PORGY Apollo 754

R 1018 UPTOWN LULLABY Apollo 755

R 1019 SALT PEANUTS Apollo 755

Coleman Hawkins and his Sax Ensemble : Tab Smith, as; Coleman Hawkins, Don Byas, ts; Harry Carney, bs; Johnny Guarnieri, p; Al Lucas, b; Sid Catlett, d.

New York, May 24, 1944.

HL 29-2 ON THE SUNNY SIDE OF THE STREET Keynote K 1308

HL 30-1 THREE LITTLE WORDS Keynote K 1316

Coleman Hawkins and his Sax Ensemble : Tab Smith, as; Coleman Hawkins, Don Byas, ts; Harry Carney, bs; Johnny Guarnieri, p; Al Lucas, b; Sid Catlett, d.

New York, May 24, 1944.

HL 31-1 BATTLE OF THE SAXES Keynote K 1316

HL 32-2 LOUISE Keynote K 1308

Coleman Hawkins' All American Four : Coleman Hawkins, ts; Teddy Wilson, p; John Kirby, b; Sid Catlett, d.

New York, May 29, 1944.

HL 33-2 MAKE BELIEVE Keynote K 1317

HL 34-2 DON'T BLAME ME Keynote K 1320

HL 35-1 JUST ONE OF THOSE THINGS Keynote 1317

HL 36-1 HALLELUJAH Keynote K 1320

Cozy Cole - Coleman Hawkins All Stars : Emmett Berry, tp; Eddie Barefield, as; Walter Thomas, as, ts; Coleman Hawkins, ts; Johnny Guarnieri, p; Sid Weiss, b; Cozy Cole, d.

New York, June 14, 1944.

5467 STOMPIN' AT THE SAVOY Savoy 533

5468 ON THE SUNNY SIDE OF THE STREET Savoy 519

Coleman Hawkins Septet : Charlie Shavers, tp; Edmond Hall, cl; Coleman Hawkins, ts; Clyde Hart, p; Tiny Grimes, g; Oscar Pettiford, b; Denzil Best, d.

New York, July 27, 1944.

S 1177 ALL THE THINGS YOU ARE Regis 7002

Walter Thomas And His All Stars

Jonah Jones (tp) Eddie Barefield (cl, ts) Hilton Jefferson (as) Coleman Hawkins, Walter "Foots" Thomas (ts) Clyde Hart (p) Milt Hinton (b) Cozy Cole (d)

NYC, October 11, 1944

8127A-6               IN THE HUSH OF THE NIGHT       Joe Davis 8127; Prestige PR 7584, PRCD 24124-2

8127B-3 | 8006  OUT TO LUNCH                                Joe Davis 8127; Jazz Selection (F) 513; Prestige PR 7584, PRCD 24124-2

8128A-3               EVERY MAN FOR HIMSELF          Joe Davis 8128; Prestige PR 7584, PRCD 24124-2

8128B-4               LOOK OUT JACK               -

K622  Coleman Hawkins - Beyond The Blue Horizon b/w A Shanty In Old Shanty Town

Buck Clayton (tp) Coleman Hawkins (ts) Teddy Wilson (p) Slam Stewart (b) Denzil Best (d)

NYC, October 17, 1944

HL66-3  BEYOND THE BLUE HORIZON

HL67-4  A SHANTY IN OLD SHANTY TOWN

HL65-1  UNDER A BLANKET OF BLUE

Charlie Shavers All American Five : Charlie Shavers, tp; Coleman Hawkins, ts; Teddy Wilson, p; Billy Taylor, b: Denzil Best, d.

New York, October 18, 1944.

HL 69-1 EL SALON DE GUTBUCKET Keynote K 619

HL 71-3 UNDECIDED Nippon/Phonogram 18PJ1051/71

Coleman Hawkins Quartet : Coleman Hawkins, ts; Thelonious Monk, p; Edward "Bass" Robinson, b; Denzil Best, d.

New York, October 19, 1944.

RECOLLECTIONS Joe Davis 8251

DRIFTING ON A REED Joe Davis 8250

FLYIN' HAWK Joe Davis 8250

ON THE BEAN Joe Davis 8251

Coleman Hawkins, ts; solo.

Los Angeles, February/March 1945.

MX 9462-5-A HAWK'S VARIATIONS, PT.1 Selmer Y 7129

MX 9462-5-B HAWK'S VARIATIONS, PT.2 Selmer Y 7129

Coleman Hawkins and his Orchestra : Howard McGhee, tp; Coleman Hawkins, tp; Sir Charles Thompson, p; Allen Reuss, g; Oscar Pettiford, b; Denzil Best, d.

Los Angeles, February 23, 1945.

573 APRIL IN PARIS Capitol 15853

574 RIFFTIDE Capitol 15335

576 STUFFY Capitol 15254

Coleman Hawkins and his Orchestra : Howard McGhee, tp; Coleman Hawkins, tp; Vic Dickenson, tb; Sir Charles Thompson, p; Allen Reuss, g; Oscar Pettiford, b; Denzil Best, d.

Los Angeles, March 2, 1945.

587 WHAT IS THERE TO SAY Capitol 15335

588 WRAP YOUR TROUBLES IN DREAMS Capitol 15854

Coleman Hawkins and his Orchestra : Howard McGhee, tp; Coleman Hawkins, tp; Sir Charles Thompson, p; Allen Reuss, g; John Simmons, b; Denzil Best, d.

Los Angeles, March 9, 1945.

594 BEAN SOUP Capitol 15855

596 IT'S THE TALK OF THE TOWN Capitol 15853

Coleman Hawkins and his 52nd Street All Stars : Charlie Shavers, tp; Pete Brown, as; Coleman Hawkins, Allen Eager, ts; Jimmy Jones, p; Mary Osborne, g; Al McKibbon, b; Shelly Manne, d.

New York, February 27, 1946.

PD6VB 1308 SAY IT ISN'T SO Bluebird 5658-1-RB

Jazz at the Philharmonic : Buck Clayton, tp; Illinois Jacquet, Lester Young, Coleman Hawkins, ts; Kenny Kersey, p; Al McKibbon, b; J.C. Heard, d.

Carnegie Hall, New York, May 27, 1946.

I CAN'T GET STARTED Mercury MG 35014

Coleman Hawkins and his Orchestra : Coleman Hawkins, ts; Milt Jackson, vib; Hank Jones, p; Curley Russell, b; Max Roach, d.

New York, December 1946.

SR 1859 YOU GO TO MY HEAD Sonora 3027

SR 1860 COCKTAILS FOR TWO Sonora 3024

Coleman Hawkins And His Orchestra

Fats Navarro (tp) J.J. Johnson (tb) Porter Kilbert (as) Coleman Hawkins (ts) Milt Jackson (vib -2) Hank Jones (p) Curly Russell (b) Max Roach (d)

NYC, December, 1946

1. SR1857            I MEAN YOU      Sonora 3027; Prestige PR 7824; Milestone M 47015; Prestige PRCD 24124-2

2. SR1858-1        BEAN AND THE BOYS     Sonora 3024; Prestige PR 7824; Milestone M 47015; Prestige PRCD 24124-2

3. SR1858-2        BEAN AND THE BOYS (ALT)         Prestige PR 7824; Milestone M 47015; Prestige PRCD 24124-2

Metronome All Stars : Charlie Shaves, tp; Lawrence Brown, tb; Johnny Hodges, as; Coleman Hawkins, ts; Harry Carney, bs; Nat King Cole, p; Bob Ahern, g; Eddie Safranski, b; Buddy Rich, d; Frank Sinatra, Nat King Cole, June Christy, voc.

New York, December 17, 1946.

CO 37177 SWEET LORRAINE Columbia 37293

CO 37178 NAT MEETS JUNE Columbia 37293

Coleman Hawkins All Stars : Miles Davis, tp; Kai Winding, tb; Howard Johnson, as; Coleman Hawkins, ts; Hank Jones, p; Curley Russell, b; Max Roach, d.

New York, June 1947.

215 BEAN-A-RE-BOP Aladdin 3006

216 ISN'T IT ROMANTIC Aladdin EP 516

217 THE WAY YOU LOOK TONIGHT Aladdin 3006

218 PHANTOMESQUE Aladdin EP 516

Coleman Hawkins and his All Stars : Fats Navarro, tp; J.J. Johnson, tb; Budd Johnson, as; Coleman Hawkins, ts; Marion De Veta, bs; Hank Jones, p; Chuck Wayne, g; Jack Lesberg, b; Max Roach, d.

New York, December 11, 1947.

D7VB 2662 ANGEL FACE Victor LPV 544

Coleman Hawkins, ts; solo.

Hollywood, circa July/August 1948.

PICASSO Clef MGC 647

Coleman Hawkins Sextet

Nat Peck (tb) Hubert Fol (as) Coleman Hawkins (ts) Jean-Paul Mangeon (p) Pierre Michelot (b) Kenny Clarke (d)

Paris, France, December 21, 1949

V3041   SIH-SAH               Prestige PR 7824

V3042   IT'S ONLY A PAPER MOON          -

V3043   BEAN'S TALKING AGAIN              -

V3044   BAY-U-BAH        -

Coleman Hawkins (ts) Jean-Paul Mangeon (p) Pierre Michelot (b) Kenny Clarke (d)

Paris, France, December 21, 1949

V3045   I SURRENDER, DEAR       -

V3046   SOPHISTICATED LADY   -

Benny Harris, Idrees Sulieman, tp; Matthew Gee, tb; Coleman Hawkins, ts; Cecil Payne, bs; Duke Jordan, p; Conrad Henry, b; Art Taylor, d.

New York, October 19, 1951.

IT’S NO SIN

AND SO TO SLEEP AGAIN

Coleman Hawkins, ts; Sanford Gold, p; Al Casimenti, g; Trigger Alpert, b; Bunny Shawker, d.

New York, January 31, 1952.

SPELLBOUND

LOST IN A FOG

CARIOCA

Coleman Hawkins, ts; Joe Wilder, tp; Danny Mendelsohn, Bill Doggett, key; Trigger Alpert, b; Jimmy Crawford, d.

New York, February 26, 1952.

MIDNIGHT SUN

Coleman Hawkins, ts; George Barnes, g; unknown, vib; p; b; d.

New York, July 30, 1952.

IF I COULD BE WITH YOU ONE HOUR TONIGHT

I CAN’T GET STARTED

Rex Stewart, cn; Tyree Glenn, tb; Coleman Hawkins, ts; Claude Hopkins, p; Billy Bauer, g; Arvell Shaw, b; Cozy Cole, d.

New York, mid 1950.

MY BLUE HEAVEN

HONEYSUCKLE ROSE

ORGAN GRINDER’S SWING

PERDIDO

SWEETHEARTS ON PARADE

Coleman Hawkins, ts; Paul Nelson’s Orchestra conducted by Neal Hefti.

New York, April 27, 1953.

RUBY

SONG FROM MOULIN ROUGE

Jazz at the Philharmonic : Buck Clayton, tp; Trummy Young, tb; Willie Smith, as; Coleman Hawkins, Flip Phillips, ts; Kenny Kersey, p; Benny Fonville, b; Buddy Rich, d.

Syria Mosque, Pittsburgh, March 5, 1957.

1941/4 HOW HIGH THE MOON Clef 107/8

Webster - Auld - Hawkins Sextet session

This session, from May 17, 1944 (sometimes falsely put on May 24), unites two disciples of the strong tenor school with their master and teacher, Coleman Hawkins.
Ben Webster and Georgie Auld (at that time 35 and 25 years old) both came from the Hawk tradition of tenor playing, with full, fat, rich, robust tones, a lot of vibrato and growl. This is the first time each of these men played with Hawkins and this Apollo session produced an unorthodox front line - trumpet and three tenor saxophones.
The accompaniment was provided by Billy Rowland (p), Hy White (g), Israel Crosby (b) and Specs Powell (d), which was at that time the rhythm section of Raymond Scott's group.

As John Chilton writes in his book The Song Of The Hawk:
"The session started after midnight so as to allow George Auld time to get from the Apollo Theatre, where he was leading his own band, to the Apollo recording studio."
There were 4 songs recorded on this session, Pick Up Boys (refers to the fact that bands put together for a special occasion are called pickup bands), Porgy, Uptown Lullaby and Salt Peanuts.

During this session, each of the tenor men played with their distinctive styles, even though some had a "better day" than the others - especially Ben Webster felt a little out of form and luck on this date.
But nevertheless - these recordings offer an interesting view on Coleman Hawkins and the effect he had on the younger players, who clearly owe much of their playing to the Hawk.
From this session, I offer 2 transcriptions, to compare and show Hawk's style and what he played, that had the ultimate effect of mastery, once again assuring himself as the father of the tenor saxophone. Hawk's harmonic knowledge is especially shown in Pick Up Boys, where compared to Auld's solo, which is mostly growly and almost strictly diatonical, Hawk uses a lot of tritone substitution and chormaticism.
Enjoy!

Salt Peanuts (Coleman Hawkins solo, in tenor G major):
http://www.youtube.com/watch?v=RZ6gTDvPRnU

Pick Up Boys (Georgie Auld solo, followed by Coleman Hawkins solo, in tenor G major):
http://www.youtube.com/watch?v=AhEMq8FmQGA

Coleman Hawkins - Rainbow Mist - complete solo analysis

I have never done any musical analysis before, well, any written analysis. I hope to explain the harmonic and melodic devices used in this solo.
At the beginning, a short introduction is appropriate, so who is Coleman Hawkins?

Coleman Randolph Hawkins (November 21, 1904 – May 19, 1969) was an American jazz tenor saxophonist, generally recognized as the father of the tenor saxophone, as he was the first person to use this horn as a jazz solo instrument, not just a part of vaudeville performances. Hawkins himself is quoted to say the following: "Some people say there was no jazz tenor before me. All I know is I just had a way of playing and I didn't think in terms of any other instrument but the tenor."

This master of improvisation in the early years already showed very advanced harmonic thinking and harmonic approach. It must have partially been derived and inspired by Art Tatum, whom Hawkins admired, but much of it was probably made up by Hawk himself.
One of the biggest breakthrough points in jazz improvisation in terms of using of different approaches (this one leading to bebop) is dated October 11, 1939. On this day Hawkins recorded two choruses of standard pop song Body & Soul. His interpretation ignores most of the melody, thus leaving him enough space to explore harmonic structures of the song, not relying so much on the melody - which is what the bebop musicians later would start to do (partially inspired by Hawk as well).

The song I am using in my analysis was recorded 4&1/2 years later, on February 22, 1944, and is based on the same harmonic structure as standard Body & Soul. And while in Body & Soul from 1939, Hawk still used more space and melody fragments, characteristic for swing improvisation, in Rainbow Mist from the very beginning he is bursting out ideas in double time, leaving spaces only to breathe. Though this masterpiece can be by some regarded as a harmonic exercise of the great tenorman, it for sure does not lack anything musically - it is sophisticated, but also full of soul, heart, it offers great atmosphere and certainly verifies, that Hawk was all worthy to be called the father of the tenor saxophone...

Here is the result.

Following is analysis of tonal/harmonic progressions used by Coleman Hawkins is this solo, 8 measure segments. My goal is to recognize and emphasize Hawk's main techniques he uses throughout this solo.

The song structure is AABA, with chord progressions same as the pop standard Body & Soul. Hawkins' improvisation covers the complete song length (excluding intro and last chord) and consists of 2 choruses and a cadenza at the end.

1st chorus

A1 (measures 1-8): 
- already in the 1st measure Hawk utilizes what was very characteristic for his playing of this "Body&Soul" period, that is using phrases that contain the interval of major 13th and major 9th of the chord, especially in minor chords. By using this he accomplishes a specific color, which sounds very open and vague, but still tonal.
- in measures 2 & 8 he uses another frequent device of his - substituting the V7 for I#7 in a ii-V7-I progression. Going from F-7 through Bb7 he substitutes this chord for E7, clearly using 3rd,5th and 8th to emphasize the chord. This could be perceived as upper structures of Bb7 (b7, b9, #11), but the way Hawk plays it, it is certain, that he is indicating E7, smoothly going into Ebmaj7.
- in measure 8 he uses diminished C#o7th chord in place of C7, leading to F minor.

A2 (measures 9-16):
- in measure 9 he uses maj7 in a minor chord when ascending, while using min7 when descending. This way he is utilizing the leading tones, achieving very natural way to play upward arpeggios.
- in measures 10 & 15 he again uses his trademark - V7 for I#7 substitution, very much in the same manner as previously.
- measure 11 presents a smooth way to achieve transition from the substitution E7 to Ebmaj7 - Hawkins uses the f# (which he used in E7) on the first 2 beats, and then changes the f# to g, thus finally entering the Eb chord.
- first 3 notes in measure 13 present an indirect resolution, leading to f natural.
- measure 13 also contains a natural, even though the chord is f minor - this might be a mistake, but as it is partially a ghost note and an offbeat, it is barely audible. And as Hawk himself said: "If you don't make mistakes, you aren't really trying." :o)


B (measures 17-24):
- measure 17 shows usage of major 13th in a major chord.
- measure 21 presents another smooth and interesting transition, this time form Emaj7 to E-7, Hawk uses g# on an offbeat in the first beat of E-7 chord, inducing a E major 5321 phrase downward, but on the 2nd beat emphasizing g natural, thus arriving to the E minor chord. These types of transitions, which still use tonal material of the previous chord into the new chord, or anticipate the material of next chord in the current chord, add to Hawk's playing the feeling of flowing/flying over changes, as if he was not bound to any bar lines, chords of strict rules. It very much adds feeling of naturalness into his playing.
- measure 23 substitutes A7 for Eb7, again using Eb7 (which is the tritone substitution) as if it was the normal dominant, using natural intervals of Eb, namely major 9th.
- measure 24 is mainly following chord tones, using some passing chromatic notes - interesting fact is, that even though the C7 leads to Fminor, it contains natural 9th (d natural), which as an anticipation can be considered maj13th of the Fminor chord, which Hawk liked to use.

A3 (measures 25-32):
- again there is usage of maj13th in minor chords, namely in measures 25 & 31.
- measure 27 contains an indirect resolution (ab f f# to g, which is the 3rd of the chord).
- measure 29 consists purely (with 1 exception, g natural) of F-7 chord notes, played in arpeggios, but still manages to sound very musical, certainly not like an exercise on chords, which many musicians practice. Here fits Hawk's quote: "I honestly can't characterize my style in words. It seems that whatever comes to me naturally, I play."
- measure 31 presents also previously used suggestion of tritone substitution by using e natural in octaves.

2nd chorus

A1 (measures 33-40):
- measure 33 begins with a little ornament (around f natural), measure 36 repeats this ornament using almost the same notes. Little things like these bring a sense of unity into Hawkins' solos.
- measure 34 uses some chromatic passing tones (b natural, but also the d natural on the beat can be considered a passing tone to note eb) and finishes with already well-known tritone substitution (F- E7 Ebmaj7).
- in measure 36 on the F#o7 diminished Hawk uses the diminished scale WtHt (but with bb instead of b natural), which was later used by modern players such as John Coltrane - very similar to using the diminished axis F#o7 and choosing any of the 4 related chords (Ab7, B7, D7, and in this case F7) to substitute for the diminished.
- measure 39 presents another tritone substitution.

A2 (measures 41-48):
- measure 41 is similar to measure 9 in using the maj7 in minor chord.
- measure 42 presents another tritone substitution, this time very skillfully connected - on 3rd beat there is descending arpeggio consisting of notes of Bb7(b9) - f d b ab, and on 4th beat is another descending arpeggio, beginning half tone higher than the previous - on f#, continuing with the same notes as the previous arpeggio - d b ab. The first one belongs to Bb7(b9), but by just moving one tone a half step higher, the second arpeggio feels as if it belongs to E79 (which is tritone substitution to Bb7).
- measure 44 during F#o7 diminished again utilizes the diminished axis and substitutes for tones of F7 dominant.
- measure 46 contains both a passing note a# and usage of notes from diminished chord (b,g#,d,f).
- measure 47 is another suggestion of tritione substitution.
- measure 48 shows another smooth transition between chords - though the band is already playing F#-7, Hawk still flies through F-79 descending arpeggio and joins the new progression on the 3rd beat with emphasizing B7 chord notes. For Hawk it is vital to really emphasize the new chord after flying through the previous chord through the new progression - to make the transition smooth, he never ends on the first note, but rather emphasizes the chord notes several times before finishing the phrase. This way always sound as if he was really flying, very smoothly. 

B (measures 49-56):
- just as in measure 48, in measure 51 Hawk continues playing the old chord (A-7) when already on E/G#, but to smooth out the transition he continues and emphasizes Emajor9 before moving to F#-7 and B7. For all these techniques that Hawkins uses, it really helps that he plays double time (16ths), so he has enough time and space to execute such progressions.
- at the end of measure 52 he anticipates the following E minor chord by using g natural, even though he is still in Emaj7. The same principle as in other places applies.
- on A7 in measure 53 he uses leading tones to get to Dmaj7 (getting through b nautral, b flat, to a natural).
- in measure 54 there is another anticipation, this time Hawk anticipates Fo7 diminished on beat 2, though the band still plays Dmaj7.
- in measure 55 during A7 he substitutes this for Eb79 (again, by the natural 9th he achieves the feeling of clean substitution, not playing out of the changes)
- during measure 56, which features chords D,Db7,C7, is masterfully filled mostly through a diminished chord on Db7 (with Do7 diminished), and through an indirect resolution on the last beat, which cleanly suggests C7 and leads to F minor 7. Amazing is that even though Hawk uses mostly chord tones here, it doesn't sound empty or mechanical at all.

incomplete A3 (measures 57-62):

- measure 58 is one of the most interesting points in this solo - though the band clearly still plays F-7, Hawkins masterfully anticipates Bb7+5(that's why the f#). Analyzed only by itself it would sound very much out of tune, as f# would be the b9 in the Fminor chord, but looking at this from the point of higher conception/structure, it is one beautiful leading note from f, through f# to g natural, which is the 3rd of following Eb chord.
- measures 57 to 61 should be considered as a 1 big phrase consisting of 3 alike motives, each raising up by a half step (1st one has top on f, 2nd has top on f#, 3rd one has top on g), with the last one resolving to measure 61 - beautiful Fminor 69. One should also notice the bottom held notes, which in measure 58 is f#, in measure 59 is g and in measure 61 is ab, even though held only shortly, compared to the previous bottom notes.
- measure 62 introduces another passing note (from g through f# to f natural), which is exceptional in the fact, that it is 8th,maj7,min7 in the chord G7, as this was later heavily used by the be-boppers, known as the dominant bebop scale. However, Hawkins doesn't choose to continue down the scale but rather uses a descending diminished arpeggio.

cadenza (measures 63-69):
- measures 63 & 64 are a simple progression F-7 Bb7 Eb, spiced up only by another tritone progression, after Bb7 before coming to Eb tonic.
- measure 65 can be explained as a short progression from G-minor (only represented by the first chromatic 4 notes), through F#-713, leading to measure 66, which is (with the exception of the f# passing note) an ordinary F-7.
- measure 67 can be perceived as a Bb7b9 chord, with the ending appearing as a Db7 chord, but in fact it could simply be a Bb7b9#9 chord, so Hawk could also think this as an alteration.
- measure 68 does not  represent anything extraordinary, it is a simple F-7 Bb7b9 Eb ending with few passing notes, landing majestically on the tonic of the whole song, Eb. At this time the orchestra joins and finishes with a powerful Eb major chord.

This brings me to the end of my analysis. The main trademarks of Hawk's style that one could notice in this performance are:
1. the tritone substitutions, which Hawkins usually applies by playing the chord triad with the natural 9 of the substitution chord.
2. the anticipation (which means playing the following chord, when still the former one is being played by the band), or its opposite (that means staying on the previous chord even though the band already plays the new chord). Importantly, Hawkins always emphasizes the final chord before finishing the phrase, so that the transition has the feeling of smoothness and naturalness.
3. usage of diminished seventh chords a halfstep higher in place of dominant chords (simply the maj3,pefect5,min7,min9 of the dominant chord).

However, even though Coleman Hawkins is greatly ahead of his time with usage of these harmonic and melodic devices, the main importance stays on his ability to create the atmosphere of carefree swinging even when it sounds that he is playing simple straight notes, and his facility of his technique and his huge full sound on the tenor saxophone, which enforces a feeling of great authority, almost a noble-like appearance.

Hawk himself once said "I made the tenor sax - there's nobody plays like me and I don't play like anybody else."
These words are very true even now, 66 years after this recording, even now, 41 years after his death.

Nobody can play like Hawk, only Hawk himself.