Albumpick op Allmusic: "This CD documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington's music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. Although it would have been preferable to hear the great tenor performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance (on cornet and violin), trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant "The Jeep Is Jumpin'," an interesting remake of "Mood Indigo," and a few new Ellington pieces. This delightful music is recommended in one form or another." (Scott Yanow, Allmusic)
Combi van 2 albums. Allmusic over "Hawk Flies High" (1957): "The producer of this session had the good sense to invite the legendary tenorist to pick his own musicians, and Hawkins surprised him by asking for young boppers J.J. Johnson and Idrees Sulieman in addition to the potent rhythm section of Hank Jones, Oscar Pettiford, Barry Galbraith, and Jo Jones. It produced strong performances, with Hawkins still very much at the top of his game, while both Johnson and Sulieman catch fire as well." (Scott Yanow) En over "The Hawk Relaxes" (1961): "Kenny Burrell joins the legendary saxophonist in this quintet setting, with no hint of the guitarist's then developing laid-back side. Underrated Ronnell Bright (p) proves a veritable equal to Hawkins even more than Burrell. But it is the burgeoning talent of Ron Carter (b) and Andrew Cyrille (d) who mark their territory, not as the maverick individualists they would become, but as supple performers who modestly understand the strength of Hawkins." (Michael G. Nastos)
Vijf-sterren-'album pick' op Allmusic. "Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser whose knowledge of chords and harmonies was encyclopedic, he had a 40-year prime (1925-1965). In 1939, although Lester Young emerged with a totally new style on tenor, Hawkins showed that he was still a dominant force. That year, "Body and Soul" became his most famous recording. Some of his finest recordings were cut during the first half of the 1940s. Although already a veteran, Hawkins encouraged younger bop-oriented musicians and did not need to adjust his style in order to play with them. In 1948 he recorded the first unaccompanied saxophone solo, "Picasso." By the early '50s, the Lester Young-influenced sound had become a much greater influence on young tenors than Hawkins' style. However, by the mid-'50s he was experiencing a renaissance. The up-and-coming Sonny Rollins considered Hawkins his main influence." (Scott Yanow, Allmusic)
"This was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. Vocalist Abbey Lincoln expresses this oppression as effectively with her thespian-based wordless vocals, and Oscar Brown's lyrics tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change." (Michael G. Nastos, Allmusic) NB: voor deze CD-versie is duidelijk een LP als master gebruikt.
Burns (van de jazzdocumentaire-serie) had toegang tot vele bronnen, wat dit geen compleet (want dat is bij een carriere van 45 jaar, jaren '20 tot '60, onmogelijk), doch wel een heel goed overzicht geeft van de vader van de jazz-saxofoon.
Concertopnamen uit 1961 van Chris Connor en haar trio (Ronnie Ball, piano, Bennie Tucker, bas, en Dave Bailey, drums), gemaakt tijdens een optreden in het Teatro Municipal te Rio de Janeiro. Op dit "Amerikaanse" festival speelden ook Coleman Hawkins, Roy Eldrige, Tommy Flanagan, Abdul Ahmed Malik en Jo Jones; zij zijn op vier nummers in verschillende samenstellingen te horen.
Coleman Hawkins (1904-1969): een tenorsaxofoongigant met een ongelooflijke carrière. Groot geworden in het swing-tijdperk, maar soepeltjes maakte hij de overgang naar bebop en tot aan 1965 bleef hij in goede conditie. De hoofdmoot van deze DVD bestaat uit een in oktober 1964 opgenomen Londens concert, dus niet lang voordat hij zich terugtrok uit het actieve muzikantenleven. Hawkins was niet de enige legende op het podium, want het was een concert met het Coleman Hawkins-Harry Edison Quintet, geleid dus met de beroemde trompettist uit Count Basie's beroemde orkest. Tussen de vijf gebrachte bebopstandards bevindt zich Edisons "Centerpiece". De bonus bestaat uit een Brussels concert uit 1962, met o.a. de Franse pianist George Arvanitas en de vooral in blues uitblinkende gitarist Mickey Baker. Erg goed en heel bijzonder is Hawkins openingssolostuk "Blwoing For Adolphe Sax", natuurlijk gespeeld met 's mans warm-romige toon. Alleen dit al maakt deze DVD, ondanks bepaald geen moderne beeldkwaliteit, de moeite waard.
Qua geluidskwaliteit scoort deze release matig, maar het betreft dan ook historische opnamen van Hawkins (ts) met bebopkwartet met o.a. Kenny Clarke (d), soms aangevuld met 3 extra blazers.
New York city 1960.
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