Without question, the undisputed jazz king of the tenor saxophone during the 1930's was Coleman Hawkins. Although others (namely Chu Berry, Ben Webster, and Lester Young) would eventually rise to challenge his throne, Hawkins was the single most influential tenor saxophone player for over a decade, from the mid-1920's through the mid-1930's.
Hawkins rose to prominence during his eleven-year stint with the Fletcher Henderson Orchestra. Hawkins joined the Henderson Orchestra in 1923 but made no memorable contributions until after Louis Armstrong joined a year later. Hawkins quickly learned jazz phrasing and improvisation ideas from Armstrong, and soon became the Henderson band's top soloist after Armstrong left. Hawkins quickly developed a forceful and easily identifiable style as a jazz soloist, and remained the star of the Henderson Orchestra until he quit in 1934.
Hawkins turned in his notice to Henderson after accepting an offer to play with the Jack Hylton Orchestra in London, England. Although jazz buffs today fondly remember the Fletcher Henderson Orchestra as one of the greatest bands of all time, during its day the Henderson band was neither a great musical or financial success. Hawkins realized that in order to further his career, he needed to join an outfit that could provide much greater financial and social opportunities. He was also eager to travel to Europe, where black American jazz musicians were treated with accolades and great respect.
A number of other American musicians, including trumpeter Bill Coleman, altoist and trumpeter Benny Carter, pianist Garnet Clark, trombonist Dickie Wells, and violinist Eddie South, also traveled to Europe during the 1930's in order to seek their fortunes in front of larger and much more accommodating audiences. Many of these musicians recorded in combination with some of Europe's up-and-coming jazz talent in Paris, when time permitted.
On April 28, 1937, Coleman Hawkins and Benny Carter organized a recording session for the French "Swing" label (affiliated with His Master's Voice in Britain and RCA Victor in America) that produced four legendary sides. The band at the session included Hawkins and Carter, with Carter arranging, as well as two of Europe's best reed players, alto saxophonist Andre Ekyan and Alix Combelle, who played both tenor sax and clairnet. Stephane Grappelly and Django Reinhardt played piano and guitar respectively, the bassist was Eugene d'Hellemmes, and the drummer was another American, Tommy Benford. The sides were released under the name "Coleman Hawkins and his All Star Jam Band."
The tunes chosen by Carter and Hawkins were all well-known standards: "Crazy Rhythm," "Honeysuckle Rose," "Out Of Nowhere," and "Sweet Georgia Brown." The saxophones dominate the first two tunes, while "Out Of Nowhere" and "Sweet Georgia Brown" both feature the fine trumpet playing of Benny Carter, who excelled both as a reed and brass player. Carter's high-voltage Armstrong-inspired trumpet playing drives "Sweet Georgia Brown," and his wonderful, swinging arrangements make all of these tunes immensely memorable. So sit back and enjoy one of the finest jazz sessions from the Swing Era:
Download Coleman Hawkins All-Star Jam Band - Honeysuckle Rose
Download Coleman Hawkins All-Star Jam Band - Crazy Rhythm
Download Coleman Hawkins and his All Star Jam Band - Out of Nowhere
Download Coleman Hawkins and his All Star Jam Band - Sweet Georgia Brown
Comments