This is great thank you. I’ve only just got into jazz (well, over the last 2 years), and enjoying gradually piecing the story together.. your series is exactly what I was looking for
Just started reading a biography of Roy Eldridge, turns out he learned Hawkins’ Stampede solo at a young age and could still remember it years on. He said that the loved how sax players really played the harmony and that’s the direction he wanted to take on trumpet.
Although Coleman does mention the melody somewhat at the beginning, a case could be made for naming the cut "Variations on Body And Soul" and giving Hawk co-writing credit alongside Johnny Green (semi-legendary in his own right as a composer and one of the conductors of the MGM studio orchestra).
Thank you. Bless you. This made my day and Sonny Rollins' eloquent poetry on the impact of excellence in endeavor may change the course of my efforts. Barry Harris brought me to learn about the Bean and you may have brought me to learn about me 😊
Man, I love your jazz history documentaries! Would you ever do any more on modern masters like Chick Corea, Michael Brecker, or the recently passed away David Sanborn? Thank you for what you've done on these. I've watched them more than a few times each. Especially the several you did on Miles Davis and John Coltrane.
The jazz history videos are based on an in-person university course which I had to take online during Covid. The curriculum covers a 70-year span ending about 1970, due to time constraints. The six episodes on Miles conclude the series.
TH-cam doesn't allow subtitles on the jazz history videos, possibly because of copyright issues. (They can't be monetized either.) At least the music needs no translation.
Something you may have missed is that Hawkins loved classical music and carried his favourite discs around with him. I think you can hear the influence in his playing.
Kind respect to you for the effort but... How did you possibly think to play the entire Manhattan Transfer version and not even mention the Coltrane version?
The clips by Eddie Jefferson and Manhattan Transfer illustrate the use of Hawkins' solo as a contrafact. If we are to showcase great performances of Body and Soul it would be a much longer video!
Hawk was several years older, and according to Berry's Wikipedia bio (for whatever that's worth), he was inspired to take up the tenor after hearing Hawk on tour. In any case, they both go way back.
@@chasesanborn while Coleman was older, it was actually Berry who pioneered the style on the instrument and made way for the commercially successful careers of the big three a bit later.
@@paulgrass4855 Not true at all! Coleman Randolph Hawkins, like Louis Armstrong for the trumpet, was the genesis of the tenor saxophone stylists! I refer you to Fletcher Henderson's 1926 "Stampede" recording and even more importantly but lesser known is the 1933 recording with Spike Hughes' Ork of "Firebird" in which both Hawkins and Chu Berry share the studio for the first time! After the intro and ensemble, Chu takes the first half of the first chorus swinging but sounding like a work in progress then Hawkins comes in to round out the chorus with swing, polish and finesse! For me, Chu Berry and Don Byas were the stylistic and harmonic bridge to modern jazz through Hawkins' influence. A great compilation to further Hawk's influence is the label Sagajazz's "Coleman Hawkins: Henderson Days" (1924-34)which includes the aforementioned "Stampede" among other great Hawk solos before Chu was on the radar & well before the '39 classic Body & Soul! Also, on "Carolina Shout", Hawk plays bass sax throughout, I think his horn needed repair during that session! LOL! BUT I have to give a slight nod to Chu's 1938 version of Body and Soul with Roy Eldridge as a classic as well!
@@JCsaxophile Speaking of Spike Hughes' recordings, "Donegal Cradle Song" is a must-listen. Hawkins has an amazing and oddly muted tone and his overall solo is one of the very best of his career.
This is great thank you. I’ve only just got into jazz (well, over the last 2 years), and enjoying gradually piecing the story together.. your series is exactly what I was looking for
Glad you found it!
Agree
Just started reading a biography of Roy Eldridge, turns out he learned Hawkins’ Stampede solo at a young age and could still remember it years on. He said that the loved how sax players really played the harmony and that’s the direction he wanted to take on trumpet.
The connection makes sense. Thanks for the comment!
This is a beautiful and truly educational series you are putting together Chase! Thank you so much for your efforts :)
I appreciate that George, and am glad you are enjoying it.
Although Coleman does mention the melody somewhat at the beginning, a case could be made for naming the cut "Variations on Body And Soul" and giving Hawk co-writing credit alongside Johnny Green (semi-legendary in his own right as a composer and one of the conductors of the MGM studio orchestra).
It could have been claimed as an original composition.
Thank you. Bless you. This made my day and Sonny Rollins' eloquent poetry on the impact of excellence in endeavor may change the course of my efforts. Barry Harris brought me to learn about the Bean and you may have brought me to learn about me 😊
I think it was Sonny more than me who made the major impact, but I'm happy to be the messenger!
Man, I love your jazz history documentaries! Would you ever do any more on modern masters like Chick Corea, Michael Brecker, or the recently passed away David Sanborn? Thank you for what you've done on these. I've watched them more than a few times each. Especially the several you did on Miles Davis and John Coltrane.
The jazz history videos are based on an in-person university course which I had to take online during Covid. The curriculum covers a 70-year span ending about 1970, due to time constraints. The six episodes on Miles conclude the series.
Coleman Hawkins actually joined Fletcher Henderson around August, 1923. He cut his first sides with Henderson that month and year.
Correction noted and appreciated!
Seria muito bom se esses vídeos tivessem legendas.
TH-cam doesn't allow subtitles on the jazz history videos, possibly because of copyright issues. (They can't be monetized either.) At least the music needs no translation.
I love the 1937 Coleman hawnkins recordings whith Django reinhardt
A meeting of innovative minds.
Yes, Blue Moon is wonderful.
The Manhattan Transfer made their version in 1979 not 1988 just FYI.
Thanks for that correction. I bought the LP when it was released. The past is getting foggy! :)
Something you may have missed is that Hawkins loved classical music and carried his favourite discs around with him.
I think you can hear the influence in his playing.
That was and is true of a lot of jazz musicians, and it is true in reverse as well as I know quite a few classical musicians who are jazz fans.
I thought "bean" was slang for your head. i.e. a mental approach to playing.
That is along the lines of 'on the bean' meaning 'on the ball'.
Hawkins was a highly intelligent man.
A serious geezer as we'd say in my part of the UK!
Kind respect to you for the effort but... How did you possibly think to play the entire Manhattan Transfer version and not even mention the Coltrane version?
The clips by Eddie Jefferson and Manhattan Transfer illustrate the use of Hawkins' solo as a contrafact. If we are to showcase great performances of Body and Soul it would be a much longer video!
First Tenor? What about the great Chu Berry!
Hawk was several years older, and according to Berry's Wikipedia bio (for whatever that's worth), he was inspired to take up the tenor after hearing Hawk on tour. In any case, they both go way back.
@@chasesanborn while Coleman was older, it was actually Berry who pioneered the style on the instrument and made way for the commercially successful careers of the big three a bit later.
Why do many sax players name their son Chu?!
@@paulgrass4855 Not true at all! Coleman Randolph Hawkins, like Louis Armstrong for the trumpet, was the genesis of the tenor saxophone stylists! I refer you to Fletcher Henderson's 1926 "Stampede" recording and even more importantly but lesser known is the 1933 recording with Spike Hughes' Ork of "Firebird" in which both Hawkins and Chu Berry share the studio for the first time! After the intro and ensemble, Chu takes the first half of the first chorus swinging but sounding like a work in progress then Hawkins comes in to round out the chorus with swing, polish and finesse! For me, Chu Berry and Don Byas were the stylistic and harmonic bridge to modern jazz through Hawkins' influence. A great compilation to further Hawk's influence is the label Sagajazz's "Coleman Hawkins: Henderson Days" (1924-34)which includes the aforementioned "Stampede" among other great Hawk solos before Chu was on the radar & well before the '39 classic Body & Soul! Also, on "Carolina Shout", Hawk plays bass sax throughout, I think his horn needed repair during that session! LOL! BUT I have to give a slight nod to Chu's 1938 version of Body and Soul with Roy Eldridge as a classic as well!
@@JCsaxophile Speaking of Spike Hughes' recordings, "Donegal Cradle Song" is a must-listen. Hawkins has an amazing and oddly muted tone and his overall solo is one of the very best of his career.
lol beans
:)