Coleman Hawkins

The 20s were a round supportsheesh in the history of music, which coincides with a turning point in the wit of African Americans, especially in bulky cities ilk unused York. The dusky entertainment industry, up until now, had always been a white mans exhibition of the total darkness for white audiences (Cooper). The Harlem renaissance and the idea of the New Negro was a antecedent for a wave of African American musicians and birdsongwriters who would not be confine to the same conventions which their predecessors were.Coleman Hawkins learned to reckon the piano at the mount of 5, and cardinal years later(prenominal) he moved on to the cello. At 9 he learned the saxoph nonpareil and by the judgment of conviction he was xii he was playing in the Kansas City Theatre Pit Band. Which scorch musician was near frequently broadcasted throughout the 1920s?Coleman Hawkins first inserted himself into the make do scene in 1921, at the very source of the Jazz age and the ro aring 20s. He played alongside the travelling color and vaudeville star, Mamie Smith. After playing this background theatrical role for 2 years, he joined Fletcher Hendersons Orchestra.This would reinvent Coleman Hawkins as a lead unaccompaniedist and a grown star of American jazz, a title that he retained for more than 40 years (Yanow). Hawkins should be include in this prevail beca utilise he was a major p finesse of the drag jazz and big band movement, both in America and Europe, term reinventing the variant sax as a Jazz instrument and an art form. His single, torso and somebody, was not only outrageously customary, and did so while defying some(prenominal) of the throw away conventions of jazz music at the time.He was overly one and only(a) of the pioneers of premature be trip the light fantastic toe and was a huge trance on later musicians such as John Coltrane and sonny Rollins. Fletcher Hendersons Orchestra was one of the most favorite and powerful Hot Jazz bands of the 20s, and Coleman Hawkins was a full time member for 11 years and was considered the centerpiece of the band (Oxford). Their home was the Roseland Ballroom. This bounce bon ton would later be know as the best move club in New York. (Oxford). They also frequented the Savoy Ballroom, the most popular Black and Tan dance club in New York.This club was influential because it was a mixed race club where both moodys and whites came to dance, and racial differences were largely left at the door. The Savoy was a building, a geographical key out, a ballroom, and the soul of a neighborhood. It personified a community and an era, and became a commemoration to the music and dance of drop (Engelbrecht 3). Fletcher Henderson and his Orchestra were likely the most influential swing group of the 1920s. One measurement of this is how often Henderson and his band were rendered and broadcasted. Henderson was the most frequently recorded black musician in the first hug drug o f Jazzs recorded history (Magee 8). Jeffrey Magee also notes that his highest frequency of records took place between 1923-1927. During this time period Coleman Hawkins was a permanent member of Hendersons Orchestra. The Bands instrumental star was definitely Hawkins (Chilton 26). In the years before and by and by Louis Arm steadfast was part of Hendersons Orchestra, Hawkins was the main soloist. Louis influenced the band greatly by devising the men swing-conscious with that New Orleans ardor of his.That same effect that Hawkins had on reeds, that right down-to-earth swing, with punch and bounce (Fletcher Henderson). Coleman Hawkins had a unique genius of temporary expedient on the tenor saxophone, which was copied by almost all tenors later Hawkins got big in the New York jazz scene. Coleman Hawkins ardour of playing the straining saxophone was his own, and was almost entirely different from anything previously heard on the tenor sax, which, in the archaean 20s was sound less principally a marching music band instrument. Hawkins arrived at his own Musical style without simply being heavily influenced by anyone in particular(Chilton 18). Hawkins, who is widely known as a modest and unassuming man (Chilton 27), made a statement saying that, I guess its true that I introduced a new style, a new way of playing tenor. I had a much heavier tongue, for one thing, than most of the others, and their tone was kind of thin(Chilton 27). However, Hawkins improvisational style was not a fixed entity. He strived to move away from the unfavourable habit of slap tonging, and began to prove with less conventional soloing techniques. Hawkins was beginning to experiment conquestfully with the use of 9th chords and augmented runs as part of his improvisations, often viewing his confidence by including surprising notes. (Chilton 34). Hawkins began to put a European strain on his improvisations in his emphasis of the weak and strong beats (Williams 8). During the 20s Hawkins was the top tenor saxophonist in New York, and some young sax players copied his smooth and often atonic style. Bud thawman was about the only tenor who didnt sound like a replica of the hard-toned Hawkins(Yanow).Although Colemans style became outdated by the 50s with the entrance of revolutionary tenor saxophonist Lester junior (Yanow), his style was still a huge stepping stone in the history of improvisational Jazz. Jazz improvisation has travelled a long road of developmentThis evolution was instigated by the titans of jazz history of the last 40 odd years Louis Armstrong, Coleman Hawkins, Lester Youngetc. Hawkins added much of his own inventive tuneful input to his music and to the 1920s Jazz scene in New York. Adolphe Sax invented the variant sax for the purpose of being a military band instrument.As the tenor sax migrated to middle class America it was adopted as a marching band instrument. Coleman Hawkins was the first musician to play jazz on the Tenor sax , and he was certainly not the last (Yanow). The prelude to jazz tenor saxophone originates from the Wilbur Sweatman Orchestra. The sound quality is quite primitive at that place seem to be no tenor sax solos (Evensmo 11). Sweatmans orchestra played prearranged music, release no room for improvisation, which means that their music cannot be called jazz, and falls into the year of ragtime, which is largely prearranged.Therefore, when Coleman Hawkins joined Fletcher Hendersons orchestra, the jazz tenor saxophone was created (Evensmo 11). Since that point, there has been a plethora of tenor saxophonists in jazz. Many, like Coltrane and cuss Rollins would become extremely influential jazz musicians of the bebe have it off era. frame and spirit was Coleman Hawkins most influential song, and also marked a turning point in Jazz (Moore). The song was a commercial success and was enormously popular among jazz audiences(Moore), however, critics also recognize the song as a musical and i mprovisational masterpiece. Right away, the Hawkins version of Body and Soul became one of the essential documents of jazz. It was not only a hit on jukeboxes until the 1950s, but also a textbook lesson in ballad playing. (Moore). The song Body and Soul was legitimately a Tin Pan Alley hit, and was cover by various artists before Coleman Hawkins. The rhythm section in the song is very understated, and the songs chorus is played twice through while Hawkins improvises (oxford). The spirit of Hawks solo is what makes this song a masterpiece. In Body and Soul, Hawkins did not use standard blues riffing, hich collects each part of the solo into even, neat sections. preferably Hawkins toyed with Sharp cornered musical phrases and endless lines that were the jazz equivalent of run on sentences. Apart from the first 4 bars, Hawkins only rarely alludes to the melody of the original song. Instead he essentially left his solo entirely free form, which was relatively uncommon at the time in swing music1. He danced at the upper extremes of chords, foreshadowing the altered harmonies that later were so definitive to be wham. But he was hardly academic. His spry, seductive tone gave every phrase an unmistakable passion. 1. Body and Soul was not only a masterpiece, it also hinted at the beginning of a new era in jazz. When the record first came out, well, everybody said I was playing the wrong notes. It was funny to me1. This recording was a step for jazz towards a more free form, atonic, and creative art form called bop. The remarkable thing is that Hawkins made this step while retaining mass appeal. In the 40s and 50s bop began to replace swing as the main popular form of jazz, although it took on a distinctively different role as a counterculture art form.Most swing musicians resented this new, edgy jazz, but Hawkins encouraged it to such a large extent that he made an effort to systematically employ and fall in with all of the up and coming jazz artists. Unlike other s of his generation, whose attitude towards bop ranged from resentment to hostility to bemused indifference, Hawkins championed the music, earning him a degree of loyalty 2. Hawkins was a role model to young bebop prodigies such as Kenny Clarke, Oscar Pettiford, Fats Navarro, gook Roach and especially Thelonious Monk, who remained a lifelong friend of Hawkins till his death2.It was not that these new up and coming jazz artists were looking to model their musical style after Hawkins. Rather, they looked at Hawkins commitment to improvisation and craftsmanship and the preposterous achievements that hed made, being a wealthy, self made black musician in mid-century America. A 1946 recording session called Bean and the Boys which included Fats Navarro, Milt Jackson and Max Roach paid tribute to Hawkins affinity with his young proteges2. In 1944 Hawkins was involved with what is known as the first bop recording session with Dizzy Gillespie and Don Byas3.Although this classification ma y be somewhat arbitrary, there is no doubt that Hawkins was hugely important to early bop. His 1948 recording Picasso, a 3 minute tenor sax solo with no supporting instruments, was a creative step for jazz as the first unaccompanied sax solo recorded3. In this recording Hawkins grow on many of musical ideas, which he pioneered in Body and Soul, and by taking out the rhythm section Hawkins is able to play an even more free form solo which is not locked into a time signature or rhythmic scheme4.Although Hawkins was not himself part of the bop generation, he certainly was an instigator and a catalyst of the bebop revolution. The singular combination of personal traits and musical abilities that marked Hawkins steely ambition, a strong intellect, and virtuosity characterized the bebop revolution1. At the start of the 1950s, Lester Young had become a much bigger influence on young tenor saxophone players than Coleman Hawkins was. However, Hawkins stuck to his melodic, edgy style of improvising and continued to play with various bands including a five with Roy Elridge.Around this time Hawkins image and influence went through a resurgence period, when Sonny Rollins, the up and coming bebop tenor saxophonist, claimed that Hawkins was his main musical influence1. In an interview Rollins said, Coleman Hawkins had a more intellectual approach maybe to music. He played a lot of very difficult things. So he became my idol2. Like Hawkins, Rollins went on to have a long, successful calling, which was characterized by many of the same qualities that Hawkins possessed.Listening to Rollins and Hawkins recordings side by side displays the distinct influence that Hawk had on Rollins. Sonny has a distinctive style of swing that takes elements from the 1930s Harlem sound that Hawkins was a part of and Rollins grew up with3. However, similar to Hawkins, Rollins style did evolve greatly over his career. Rollins has a seemingly bottomless root of musical knowledge (ranging fro m jazz standards and pop, to folk songs and classical music)3.The most important trait, which was passed on from one tenor sax great to another, was the truly progressive nature of jazz. Coleman Hawkins, Sonny Rollins said recently, was of jazzs most prominent Role Models The prototypic progressive jazz musician. Coleman Hawkins was the foremost tenor sax player of the 20s and 30s, and played with some of the most influential bands and musicians of the swing era1. Fletcher Hendersons band was likely the most influential group of musicians to arrogate the 1920s swing dance craze, and Hawkins played a prominent role in the orchestra2.In1934 he left America for Europe as the one of the most prominent swing musicians in New York3. He came back 5 years later to find that nothing had changed in the New York jazz scene. He went on to cut his most beautiful and influential record, Body and Soul3. In his later years, when jazz began to change around him he did not resist. He encouraged th e change and allowed his own musical style to develop as well4. The one thing that remained true for Coleman Hawkins throughout his career was his commitment to jazz as a malleable and ever-changing entity.At the beginning of his career we see this when he rescued the tenor saxophone from the limbo of the circus5 and turned it into an art form, and we see it in his later years when he passes on these same ideals to the next generation of jazz. He was the King of the Tenor Saxaphone, and was an extraordinary influence to the evolution of jazz. 1 . dream 2 Deveaux 38 2 . Deveaux, 39 2 Deveaux, 38 3 Yanow 4Oxford 3 . Yanow 2 http//www. achievement. org/autodoc/printmember/rol0int-1 3 Carroll 4 . Magee 7 2 Chilton 23 3 Moon 4 Deveaux 39 5 Chilton 45