205. Coleman Hawkins with Eddie "Lockjaw" Davis / Night Hawk (1960)

Enough has been said about Hawk's invention of the wheel when it comes to the tenor sax solo. His influence extends over both horizons and has touched untold numbers of musicians both directly and indirectly. But his work, especially that of the transitional 50's and early 60's, is also a lot of fun to listen to. Hawk's professionalism was so cool it was casual, his technique an enigmatic balance of technical innovation and instinct. Here, in a 1960 session for the Swingville imprint and recorded by Rudy Van Gelder, he is heard with fellow tenor Eddie Davis, Tommy Flanagan, Ron Carter, and Gus Johnson. The title track, 10 minutes of slow blues loosely organized around a theme, is a pickup number that demonstrates the players' knack for the above. The contrast between the tone and styles of Hawkins and Davis on tracks like "In a Mellow Tone" provides an added dimension. Flanagan is in top form playing tastefully between the leads, Carter and Johnson a sympathetic unit whose attention to the music goes beyond timekeeping. As with Duke Ellington Meets Coleman Hawkins recorded for Impulse two years later, a good result from such a meeting of the minds was not a foregone conclusion, but in both cases the outcome was memorable.

145. Benny Carter & His Orchestra / Further Definitions (1961)

This octet features the alto saxes of Green and Phil Woods playing across from Coleman Hawkins and Charlie Rouse on tenor. The lineup recreates the famous Green-Hawkins date from Paris 1937 while harkening back to the swing era's "dueling" sax lineups, fashioned after the Basie model. This time, several 30+ year veterans team up with players of the next generation like Woods, Rouse, and Jimmy Garrison. It's a real sympatico affair, a collage of distinctive voices working together in a shared, now classic style. Their danceable, infectious small group swing is a far cry from Impulse's stock and trade just a few years later. Carter's arrangements provide amply for the players, and the set rolls without a hitch. I love "Body and Soul," especially when Hawk plays it. It's a gem, and Carter's chart gives him all the room he wants. Woods' work on "Crazy Rhythm" (a chestnut also from the Paris date) is notable, drawing equally from the work of his mentors and his own developing style. The solid, self-assured vibe feels a lot like Duke Ellington Meets Coleman Hawkins or Verve's Ben Webster and Associates. Comparisons aside, it's something you want to own for its sheer enjoyability, if not for its historical value.

117. Ben Webster and Associates (1959)

Similar to the Rollins/Coltrane session Tenor Madness, much of Webster's Ben Webster and Associates feels like friends trying out ideas with relatively no pressure. In other words, a damned good jam session. Of course, with this lineup, the music has a completely different feel than Sonny Rollins and Coltrane. Webster and Co. start off with "In a Mellow Tone," and keep at it for over 20 minutes. It's so enjoyable, it's a shame the tune has to end. There's room for everyone: Webster, Budd Johnson, Hawk, Roy Eldridge, even Ray Brown gets two choruses. The excitement building for the final push to the end isn't to be missed. They next turn up the heat for "De-Dar," a bluesy tune with with a boisterous arrangement that swings hard. As far as the tenors go, I like listening to all the different styles on the same record -- Johnson's streamlined and laconic phrases in double time, Hawk's strident tone emerging like a dark horse, and Webster alternately growling or whispering but always playing straight. "Time After Time" strips Johnson, Hawkins, and Eldridge for a more intimate setting and allows further explorations in the diverse sound that Webster was famous for. So what are you waiting or? Get on the stick! This should be on every shelf.

67. Duke Ellington Meets Coleman Hawkins (1962)

By all accounts a long time in the making, the result of this collaboration is worth the wait. Scaled back arrangements showcase the soloists and focus, of course, on the eloquent, mellifluous tenor of Coleman Hawkins. It's a relaxed and familiar session, with some hot blowing by everyone, especially Ray Nance ("Wanderlust"), Johnny Hodges ("You Dirty Dog"), and Lawrence Brown, who are clearly inspired by Hawk's presence. The affair starts with the loose and tumbling Latin groove of "Limbo Jazz," recorded secretly by Van Gelder and capturing a riotous continuo scat vocal by Sam Woodyard. Late in the tune, Hawk is invited to join the fun. We are treated to a sublime "Mood Indigo," where the star takes chorus after chorus until bowing out in the last bar. This exhilarating performance always leaves me excited for what comes next. The record really feels like Duke during "Ray Charles' Place" when they do some ensemble figures in powerful, transcendent chords. Hawk dives right in the middle and has ample support from the group who seem to draw up the whole tune up around him. Lawrence Brown has some nice solos throughout the album, notably on 'Wanderlust" and "The Jeep is Jumpin'." I think Hawk's best moments occur in the aforementioned "Mood Indigo" but the honorary "Self Portrait of the Bean" runs a close second and is as near to Hawk's thesis as we're going to get this side of "Body and Soul." 

25. Coleman Hawkins / In a Mellow Tone (1998)

Prestige had it easier than other labels in the task of compiling Coleman Hawkins' "best" studio recordings. Hawk's output on Prestige, Swingville and Moodsville commenced in 1958 and was completed by 1962, so the difficult job of choosing the most exemplary tracks was simplified. They chose from a diverse variety of small groups with Tiny Grimes, Red Garland, Tommy Flanagan, Major Holley, Ray Bryant, and Kenny Burrell, and others. It's a nice sampling of Hawk's technique and improvisational prowess. "Greensleeves" is done as a heartbreaking blues, and "I Want to be Loved" features Red Garland soulfully blocking the chorus while Hawk blows judicious bouts of syrupy vibrato. On Duke's "In a Mellow Tone," Hawk takes the left channel and Eddie "Lockjaw" Davis takes the right, trading gritty R&B inflected licks that progressively up the ante. The best part of this disc is that it does not sound conceptually disjointed. Hawk's distinctive voice and inventive ideas dominate the proceedings and keep the ear interested across almost five years of recordings with an assortment of players.