Coleman Hawkins encounters Ben Webster long


I'm 48 and have been listening to jazz since I was 7 or 8. I have read about and listened to Coleman Hawkins for years but I never heard him , really heard his tone, until saturday night. Ben Webster took his first solo on track 2 of 'Coleman Hawkins encounters Ben Webster' and though there are several good recordings of him this was a great moment. His bluesy tone was beautiful and I remember thinking " how is hawk going to top this?" At that moment Bean began to play and I just could not believe it. His tone was monumental. While he couldn't match Websters sweet blues his tone stuck me for what it was - one of the highest expresions of his instument. ( Webster came back and rather than try to outdo him he played his next solo so understatedly that for several bars he played using only the vebrato of his breath blowing over the reed with the horn barely making a sound - sublime) Now I finaly understood why all Hawks contemporaries loved him so and how he won all those late night cutting contests back in the 30's and 40's against the best competition available. It also hit me then why I (we) spend so much time on this crazy hobby. When you find a GREAT recording and play it on a quality system you understand what is was like to be in their presence. I UNDERSTOOD Hawkins in a way few others will who did not see him in his prime. I have found a few other very high quality recordings and my search for more will continue. I would be interested in hearing from others about their favorite classic jazz recordings. ( It beats arguing about cables.) - Jim
aldavis
Ben Webster and Associates - track 4 "Time after Time"

Coleman Hawkins is also feature on this record along with Budd Johnson and Roy Eldridge. Ben solo's it on "Time after Time" and it is.......... beautiful.
Great post!

My entry is a recording by Ella Fitzgerald commemorating her 40th birthday at a concert in Rome. While there are several moments of sublime beauty captured on this disc (an LP), the moment that comes to mind is several bars in "Stomping at the Savoy" where you can hear Oscar Peterson subtly teasing Ella by pushing the beat. You can actually hear her smiling as she responds by changing the lyric to say "Oscar! We're through!" Having seen both artists several times (but never together), I was always struck by their playful mastery and lack of stuffiness, which, unfortunately plagues so many "serious" jazz artists. This moment in this disc conjures those images and helps me remember that music can be seriously good and fun at the same time.
That is a nice post, Jim. Makes me remember Trane's Impressions and Jim Beam moving me to tears when I lived in Santa Cruz.

Here are a few suggestions in the spirit of the thread:

Hank Mobley, Roll Call. Hank is underrated, I think.

Art Pepper, Modern Art. Prefer it to Meets, another great one.

Red Garland, Groovy. Also underrated.

Miles Quintet, Cookin. My favorite of the In recordings, and the one that got me started on Jazz.

Herbie Mann, Live at the Village. If you have this and Modern Art, you have two of the greatest renderings of "Summertime." Season's Greetings! John
Thank you for the responses. For any of you who are interested here's a few more exceptional recordings. They are not necessarily the best in terms of musical content ( though they're usualy pretty good) but they are so lifelike you'll think you've heard them in person. JOHN COLETRANE - 'stardust' from 'fearless leader'. You can hear the air all the way from his mouth,through the sax and out into your room. The piano is terribly recorded but this was typical of the period. ELLA - 'Angel eyes' from 'The intimate Ella'. This is a rare chance to hear her without the uptempo bounce and on angel eyes you hear every nook and crany of her voice. SARA VAUGHN - The entire 'after hours' and 'sara +2' discs are very well recorded but the obscure 'words can't desribe' from 'swingin easy' puts her right in front of you. Not a great tune but a great recording job on her voice. Again the band is poorly recorded. MILES - 'old folks' off of 'Someday my prince will come'. You can hear him adjust his mike stand from left to right and his harmon mute is captured pefectly.In this case his band is extremely well recorded. Probably the best Wynton Kelly(piano) on track one. POPS - Louis Armstrong/Duke Ellington remaster. Listen to 'I got it bad and that ain't good'. You can hear his fingering on the horn during his extended solo intro. His voice is perfect. Other 'you are there' recordings : Tony Bennet/Bill Evans, Johnny Hartman/John Coletane, Johnny Hartman 'I just stopped by to say hello' track 2, Frank Sinatra the bonus track practice version of ' Where or when' off of 'only the lonely' in which you hear him feel his way through the song without his usual confidence but very very heart felt. It's short and it's almost ruined by the band (which was not meant to be recorded for playback) blasting though the final chorus but to me there is no better picture of the real Frank Sinatra. Well these are what come to mind right now . I hope you try some as I will try the suggestions which I don't currently own. John - for me it was Gentleman Jack. Rushton- good luck on you jazz quest. My wife is a lifelong classical singer who recently began learning jazz piano. It's a wholenuther ball of wax but I think her appreciation of these musicians has grown exponentialy - Jim
Stan Getz is another great one (no revelation, I know). Too many good ones to select one, but try "Live at the Cafe Mart." or his cuts with Gilberto and Jobim.