This 1962 Moodsville quartet date finds Coleman Hawkins in excellent form performing tunes from Broadway shows. It's an unusually lively date for this label that specialized mainly in slow ballad treatments in a jazz setting, and it's a terrific date because of that. Hawk stays down in the lower register of his tenor throughout most of the selections, and his breathy, smoky tone is most attractive. ~ Amazon Customer's Review
Surprisingly, this Impulse album is the only recorded meeting between these two swing giants. Born just five years apart, Ellington and Hawkins led parallel lives through the swing era, but somehow never ended up in a recording studio together until this 1962 session. The pairing is certainly a good one that should have been repeated more often. Hawkins' famously robust tenor sax fits in seamlessly with Ellington and a small group of his top sidemen including Johnny Hodges, Harry Carney, and Ray Nance. These old pros work smoothly through a relaxed set of new and old Ellington compositions.
A mid-'50s tenor sax workout by the immortal soloist Coleman Hawkins. This was originally issued on Urania and wasn't spectacular, but did have some nicely played blues and ballads. It has been reissued on CD by Fresh Sounds. (Allmusic)
From the mid-'50s until Coleman Hawkins's death in 1969, the tenor-saxophonist frequently teamed up with trumpeter Roy Eldridge to form a potent team. However, Hawkins rarely met altoist Johnny Hodges on the bandstand, making this encounter a special event. Long versions of "Satin Doll," "Perdido" and "The Rabbit in Jazz" give these three classic jazzmen (who are ably assisted by the Tommy Flanagan Trio) chances to stretch out and inspire each other. The remainder of this CD has Eldridge and Hodges absent while Coleman Hawkins (on "new" versions of "Mack the Knife," "It's the Talk of the Town," "Bean and the Boys" and "Caravan") heads the quartet for some excellent playing. Timeless music played by some of the top veteran stylists of the swing era.
This releases contains the complete classic album Desafinado (Impulse AS- 28), which marks Coleman Hawkins’ only incursion into the Bossa Nova genre while showcasing him as the only horn. As a bonus, Kenny Burrell’s entire LP Bluesy Burrell (Moodsville MVST29) featuring Coleman Hawkins, and recorded in between the two bossa nova sessions. Even though it was not recorded in the Bossa Nova style, it maintains the relaxed spirit of the first album. Both LPs feature the exceptional Tommy Flanagan (playing percussion on the first album), as well as Latin percussion - by Willie Rodríguez on Desafinado, and by the great Ray Barretto on Bluesy Burrell.