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I'LL NEVER BE THE SAME
(Matty
Malneck-Fftnk
Signorelli-Gus
Kahn) Robbins
Mvsic Corp.
3:34
2. YOU'RE BLASE
(Ord Heilton-Btu@
Sr'eqer) Chappell
Parirq)
trbmous
Music
3:37
Corp
Gqshwin-Ira
Cershun)
Nry
Wolld
Music
BwkeJimmy
Heusen)
3:54
Inc.
6. NfiYMEI.ANCHOLY BABY
(Emie Bwnett-George
A. Norton)
Shapiro, Bemstein
4:07
& Co./Jerry Vogel Music Co.
7. ILL WIND
(Harold
Arlen-7bd
5:32
Koei]er)
Mills
Music,
Inc.
8. IN A MELL(}TIONE
(Duke Eilington)
Robbins
Music
4:44
Corp
9. THERE'S NO YOU
3:25
tt.
Seitz-Cene
Lockhart)
Chappell
Gerehwin-Ballud
MacDonald-Buddy
Vrvid Publishing
3:46
SOMEBODY LOVES ME
(Georye
3:53
Corp.
3:28
3:49
Desylva)
Corp.
3:02
Co,, Inc.
unlikc rolr
and p<4rr
that perirr
oldcr rrrr
can't rtop
you listen
IIl w l
Garvin lh
of thc 12
everytlrirr
was pllyir
note. I lrr
thc crrttto
running t
thing he
thc blrrrn
mrrsicinnr
( kr r r
Lis growit
sorrthattt
son bnnrl.
ht: trlvelc
a ratc iirr
Ben Welrr
thosc rluy
where ( ilr
just lr tl
them."
Il l w l
publicity
Hsof
IAIIT
rnrs
3:28
3:34
Following are Nat Hentffi
3:37
IING ON
3:53
3:54
It I
4:07
ily
Vrgol
Music
Co.
5:32
4:44
3:25
:HE SUNRISE
3:46
3:49
3:02
unlike some of his generation, has he become embittered by the changes in.styles
and popularity. He hired Monh and Dizzy in his bands and on his records during
that period when "bop" was used as an epithet by most writers and even by many
older musicians. "It's all a natural way that jaa growsr" he said rcently. "You
can't stop it. That's the way it is, and you're bound to pick up things younelf if
you listen."
Hawkins, while always remaining strongly himself, has always been listening.
Garvin Bushell, while traveling with Mamie Smith, heard Hawkins in the pit band
of the 12th Street Theatre in Kansas City as early as 1921. "He was ahead of
everything I ever heard on that instrument. It might have been a C rnelody he
was playing then. He was really advanced. He read everything without missing a
note. I haven't heard him miss a note yet in 38 years, And he didn't - as was
the custom then - play the saxophone like a trumpet or clarinet. He was also
running changes then, because he'd studied the piano as a youngster. The only
thing he lacked in the early twenties," Bustrell added, "was as strong a sense of
the blues and the 'soul' the southern players had. He was like a typical midwest
musician of that time in that respect."
Compare, however, his fint recordirigs with Hendenon with those that followed
his growing absorption of the influences brought to New York by players from the
south and southwest, most notably by Louis Armstrong in his stay with the Henderson band. By the end of the twenties, Hawkins was supreme on the tenor. Wherever
he traveled, he was looked up to by all the younger players. Jo Jones, explaining
a rare time when Coleman Hawkins was bested at a session (in Kansas City by
Ben Webster, Lester Young and Herschel Evans) points out: "You see, nobody in
those days would walk in and set up with Hawkins, except maybe in New York
where Chu Berry was just coming up. But most of the time at sessionsguys would
just be trying to show Hawkins how they had improved since he had last heard
them.tt
Hawkins continued being the arbiter for many young musicians - without
publicity - for years. British writer Nevil Skrimshire noted in the Jazz tournal:
"Coleman Hawkins was apparently one of the musicians responsible for Oscar
Peterson'sdiscovery. Petersontold me that one night at a club in Toronto, Hawkins
sat and listened to him all evening without saying a word. When everyonehad gone,
Hawkins asked him to play a tune. He said, 'I'd like to hear lt's The Talk of the
Town but I'd like hearing it in B natural.' As Peterson said to me, he managed
that one and a couple of other teasersand was thus accepted by Hawkins."
Hawkins enjoyed this date. He'd played with the Peterson trio before on the
JATP tours; and with his customary disinclination to go into long verbalizations of
music, he said of this session: "It all went down pretty easy. We got several first
takes that were so good we didn't do any more. 'fhey were all 'heads' and I picked
most of tJre tunes." The original, Blues f or Rene, is by Hawkins.
This is unfettered Hawkins - no strings, no paper, nothing but his horn and
tbtttr.
He remains as describedby Benny Green, the British musician, in a chapter
inThe Dccca Book ol lazz: ".. . He was the first of the jazz saxophonevirtuosi,
with a technique equal to the task of playing anything his mind could conceive.
And his mind could conceive patterns of great ingenuity and beauty. For all the
apparent hot-headednessof Hawkins in full cry over a faster tempo or his seeming
blind fervor on a ballad, the Hawkins mind behind the Hawkins heart was always
perfectly poised, weaving ingenious melodic patterns almost mathematical in tireir
precision and in the inevitability of their resolutions."
Inevitability, the feeling that a solo could not have been othenvise, is one
mark of a major improviser. Coleman Hawkins, for one.
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dem lechnrschen Verlahren, das bei der Aufnahme erngeselzl wurde.
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Bei Beachtungdieser Hinweisewird die Compacl Disc ihre Oualital proscrit.Si ces instudions soni respectoes,le Compacloisc vousdonneG une oadaiteet durablerestitutaon
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La supeiore qualitadel CompactDisce il risultalodella scansionecon
The CompactDisc's superiorperlormanceis lhe resultol laseroplical l'onicalaser,combinatacon la riproduzionecligitaleed 0 indipendenle
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Ouestatecnicadi regislrazionee idenlilicatasul retro dellaconlezione
This recordingtechnologyis idenliliedon the back cover by a lhree- da un codicedi te lenere:
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D'gital tape recorder used duftng sessronrecordrng.mixrng .J
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Analogue tape recorder used during session recording and LJ
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duringmastering(tanscription).
Per una miglioreconservazione,nel trattamenlodel Compacl Disc. 0
In storingand handlingthe Compacl Disc, you should applythe same oooonunousarela slessacurariservataai dischiradizionali.
records.
Non sarenecessarianessunaulteriorepulizia.se il Compad Discve(a
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the disc.
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