Steve Wyzard DO NOT DISMISS

So identified with the 1930s-50s, many people are stunned to find out that Coleman Hawkins was still both recording and performing well into the 1960s. Even more are surprised to learn that he outlived John Coltrane by two years. Supreme, released in 1995 on Enja Records, is from a concert on September 25, 1966 at the Left Bank Jazz Society in Baltimore. This was recorded very near the end of his run as one of the most influential tenor saxmen ever. He was just short of 62 and dealing with a number of health issues that would shortly send him to retirement. Backed by Barry Harris, piano, Gene Taylor, bass, and Roy Brooks, drums and producer, his tone is nowhere near what it used to be, but he is still well worth hearing.

You've heard the rumors: so how much does Hawkins actually play on this album? Let's break it down, track by track:

1. "Lover Come Back to Me" (17:09): first 6 minutes, last 2 minutes. 2. "Body and Soul" (10:09): throughout (naturally). 3. "In Walked Bud" (16:42): first 5-1/2 minutes, last 1-1/2 minutes. 4. "Quintessence" (9:05): first 5-1/2 minutes, last 2 minutes. 5. "Fine and Dandy" (10:30): first 3-1/2 minutes, last 1-1/2 minutes. 6. "Ow" (1:27): throughout.

As you can see, Hawkins spends a lot of this concert not playing. While surely some of this can be attributed to his generosity with soloing space (and it should be mentioned that Harris, Taylor, and Brooks are all exceptional players), no doubt it can also be explained by the old, used-and-abused diaphragm not being what it used to be. It's easy to hear that those in attendance that night were in absolute awe of seeing a living legend at this late date. There's an especially overwhelming ovation after Hawk's opening solo on "Quintessence".

It should also be mentioned that there are some faults with the source tape that occasionally produce strange echoes/distortions with the recorded sound. If you can overlook these caveats, you should enjoy listening to this performance. But do not begin listening to Supreme with any idea that it is his "greatest" or even "most representative" concert recording. While he did start out in the early days of recorded sound, there are plenty of opportunities out there to explore Coleman Hawkins in his prime. Listen to this album for what it is: an old master near the end of the line, playing the music he loves in spite of the setbacks of age.

js Mood music was a phenomena that arose in the 50s with the arrival of the long playing album and was designed to provide a ‘relaxing atmosphere’ for people during times of leisure. Often these albums consisted of rather faceless orchestras playing classic ballads in a rather bland and unobtrusive manner, but a not uncommon alternative to the generic orchestra would involve having a well known jazz musician play the ballads instead. Big stars from Charlie Parker to John Coltrane have recorded such albums and these sides can range from cheezy and forget-able to decent sets of jazz, albeit a bit laid back. Fortunately, Coleman Hawkins’, “At Ease with Coleman Hawkins”, falls into that latter group.

If you had to pick the nicest tone in saxophone history, Hawkins would rate at the top along side fellow reed men like Johnny Hodges and Lester Young. For those unfamiliar with his history, Hawkins, pretty much by himself, invited modern saxophone playing in the late 20s and made the saxophone a competitive solo instrument with his virtuoso solos and smooth tone that is still hard to match today. Coleman brings all that virtuosity to “At Ease”, but keeps things in a relaxed manner as required by the mood music setting.

In comparison to other jazz albums that double as easy listening, “At Ease” rates very well. One big plus on here is that there are no background strings weighting down the sound, often a big problem with other jazz mood albums. Instead, the only instruments you get on “at Ease” are a simple four piece combo with the great Tommy Flanagan on piano. A second big plus is the choice of tunes. Easy listening albums are notorious for featuring songs that have been played to death, not so on this one, apparently Hawkins picked the tunes himself, and his choices are thoughtful and unique. Fans of Coleman Hawkins don’t need to be afraid of this one, Hawkins keeps it mellow, but he doesn’t necessarily check his genius at the door, there is a lot of great playing on here, inventive and unique as always.

js “Complete Live at the Bayou Club” combines the previous two separate LPs of this club date in 1959 and also adds three great tracks from the same date that were left off of the original LPs. This double CD pack also includes four more live numbers from other concerts recorded in the late 50s. Coleman Hawkins and Roy Eldridge really enjoy working together and it shows, its hard to find music with more good vibes and warm energy than this. Although this was recorded in 59, this CD presents the classic sound that Hawk and Roy developed in the 40s. They were both key figures in jazz’s evolution from swing to be-bop and what they play has the old school charm of the swing, but with more up-tempo sass and NY attitude like the bop. On this date they play many of the great songs that were part of the early bop movement; “Body and Soul”, “How High the Moon”, “Honeysuckle Rose” and others that were favored vehicles for the young boppers to work out their new ideas. Sure its fun music, but on the other hand, this concert can also be seen as a history lesson in the development of jazz. Roy and Hawk were the direct predecessors for the intense explosion in jazz that would culminate with Gillespie and Parker, high octane numbers on here like “Bean and the Boys” show the energy they could unleash while still maintaining a sense of relaxed cool. Hawkins in particular had such a huge influence on the future of jazz saxophone playing, although he maintains the outer appeal of elegant swing, listen closely and he will quickly knock off a run that spells the future for Parker, Coltrane, Ornette, John Gilmore and many more.

The recording quality on here is excellent, everything comes through loud and clear, but as was the custom at the time, the mix favors the star horn players. The four live cuts added from other concerts have poorer sound quality, but the two tracks from the Antibes Jazz Festival really smoke. If you enjoy early bop, or are looking for a way to introduce yourself to this style, this CD is highly recommended, this one is special.

js When Coleman Hawkins recorded ‘The High and Mighty Hawk’ in 1958, the jazz world had left behind the swing and early bop that he had helped create, but lucky for us Hawkins knew better than to chase current trends but instead stuck with what he knew best, virtuoso lyrical solos that swung like no one else. Parker may have brought the crazy energy and dexterity, and Coltrane the unquenchable spirit, but before those two, Hawkins had the voice; a very warm and human approach to the saxophone that made the instrument sing like no other.

There is a special treat on this record for long time Hawkins fans in that the album opens with his first recorded shot at blues-jazz, ‘Bird of Prey Blues’. Hawkins had avoided the blues and preferred more melodic or complicated pieces, but here he lets loose a bit with his own relaxed elegant take on a sound that was a predecessor to the soul jazz craze that was just around the corner. Elsewhere on the album you get two ballads, two energetic boppish numbers and a nice old school swingin original called ‘Ooh-Wee Miss G. P.!’. Along with Hawkins, another star of this record is trumpeter Buck Clayton who often uses a mute to produce that high tinny sound favored by trumpeters in the earliest days of recorded jazz. On ‘Miss G.P.’ his muted trumpet echoes and mimics Hawkins in a style that takes us back to New Orleans. All of the tunes are nice, but the two bop numbers, ‘Vignette’ and ‘Get Set’ steal the show.

This is a great record, Coleman’s playing is rooted in swing and early bop, but he and Clayton also channel even earlier eras of jazz making this record an excellent time capsule in 1958 and even more so today.