Album Reviews

This set, recorded a few weeks shy of fifty years of when I’m writing this stars a 51 year old Hawkins leading a well- recorded session date featuring J.J. Johnson, Hank Jones, Ocar Pettiford, Jo Jones, Barry Galbraith (guitar) and Idrees Sulieman. I had no idea who Barry Galbraith was until I read the liner notes, so I’ve listed his instrument in case you’re unfamiliar as well. Perhaps I’m just showing my ignorance. If you don’t know the others and what they play, you’re showing yours, though trumpeter Idrees Sulieman is not exactly a household name now and wasn’t even one in 1957.

Though he came up playing tenor during the big band era, Hawkins moved comfortably into the bop era as one of its originators, leading and recording with groups that included Miles Davis, Dizzy Gillespie, Thelonious Monk and others.

In 2007, with “50 being the new 35,” we don’t think of Coleman Hawkins as being old for this session, but fifty years ago, 51 was getting on in years. In fact, Hawkins died at 63, a mere twelve years after this session. Producer Keepnews’ liner notes make clear that by 1957, the record business had moved on and Hawkins had been sadly neglected.

So this session was a chance for Hawkins to lead a small pickup group of very talented musicians, in what can’t be described as a particularly adventurous or groundbreaking session, but given the cast, it can’t help but be entertaining and filled with great solos from everyone involved.

Those unfamiliar with Idrees Sulieman will enjoy his solo work, particularly on “Sanctity,” the final track, and except for a few good solo stretches, one of the weakest tunes on an otherwise strong set. It ‘s also Hawkins’ only composing contribution.

The cool opener, Hank Jones’ “Chant,” sounds like something Henry Mancini might have been listening to when the inspiration for the theme to the “Pink Panther” hit. Sulieman’s “Juicy Fruit” sounds like something Monk wrote, while “Think Deep” has a cool bump and grind “noir” feel. The classic David Raksin movie tune “Laura” never states the obvious melody, skidding along on it edge, with Hawkins taking jittery runs and Johnson contributing a beautifully melancholic solo before The Hawk blasts his way in. This could be the best tune on the disc.

Gigi Gryce’s “Blue Lights” will have a familiar ring even if you’ve never heard it before. It sounds like a great deal of jazz from this era, such as Nat Adderley’s “Work Song,” or much later, Neil Hefti’s theme from “The Odd Couple.” Galbraith, who’s used mostly as rhythmic “thickener” gets to solo and makes the most of the opportunity.

Finally, there’s Hawkins’ original, “Sanctity.” While the tune itself sounds dated out of the gate and quickly becomes little more than a launching pad for solos, the tune serves its purpose as the solos all take flight.

Sonically, the big, full and deep picture could make the most avid stereophile into a monophile. Knowing he was painting in mono, the engineer moved the solos well forward in the mix, relegating the others to a small clump of territory well to the back of the stage. It’s unnatural sometimes, but it works really well. Instrumental timbres are mostly excellent though “of a period,” and somewhat reticent, particularly the drums and piano, compared to more modern recordings. The horns, however, jump out brilliantly exuding texture and immediacy.

This is about as “analogue-y” sounding as digital gets, but I’m sure the LP to be issued shortly after this was written will be even more so. (You can be sure it is better on AAA vinyl: more supple and communicative. The vinyl delivers more dynamic nuance and reedy textures.(M.F. 9/07)

Not a major jazz statement, but a more than pleasing punctuation mark in the great Coleman Hawkins story.