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Personnel: Goleman Hawkins, tenor sanophone; Oscar Petenor\

piano; Hedo Ellis, gruitar; RayBrown,
bass; Alvin Stolle4 drums.
Recorded October 16, 1957 at Capitol Studios in Los Angeles.
Origdnal session produced by Norman Granz.
Origdnal session engineered by Val Valentin.
Original cover photo by Phil Stern.
Prepared for Compact Disc by Richard Seidel.
Digitaly remastered by Dennis Drake, FolyGram Studios, USA.
Following are Nat Hentffi

notesfor the original releaseof this material:

One value judgement on which everybody in jazz agrees is the perennial
vitality and imagination of Coleman Hawkins. Now in his mid-fifties, Ilawkins
can still take command of any sessionin which he becomes suftciently interested.
He can still record with the most "modern" players (Thelonious Monk, for one
example) ; and he is still recognizedby fellow musicians as one of their continuing
resources. Sonny Rollins, for instance, always lists Bean when asked the tenor saxophonists he most admires, and these days so do many modernists even younger than
Sonny.
Hawkins' stature has never been in doubt historically since he began - while
with Pletcher Henderson in the twenties - to liberate the tehor saxophone and
become the fint major, pervasive influence on that instrument. Jazz fa5[i6ns !6itt*
as mercurial as they are, however, he experienced a relative eclipse in poll-like
estimation for some years in the forties and even into the early fifties when the
Lester Young-dominated school of tenor was predominant. Hawkins' "return" (he
had never, of course, been away) to interviews in the jazz magazines and higher
rungs in the polls was partially set in gear by the rise of such younger, post-cool
players as Sonny Rollins who clearly owed him as well as Charlie Parker a basic debt.
Coleman himself has never worried especially about who's been in office nor,

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: