oh my how the orbits of these great minds intertwined with this particular confluence of aural space pace tone and time
insert commas into any of the structure above to open your own entrance into somehow sentencing music as text
blaming that last line on Elvin Jones cymbals
John Coltrane: tenor & soprano sax
Eric Dolphy: alto sax, bass clarinet, flute
McCoy Tyner: piano
Reggie Workman: bass
Elvin Jones: drums
Falkonerteatret, Copenhagen 1961-11-20
1. intro by Norman Granz
2. Delilah
3. Every Time We Say Goodbye
4. Impressions
5. Naima
6. My Favourite Things (false start)
7. My Favourite Things
heard news today about a college bball player named Coleman Hawkins
for a skip second my brain valve confused him with an OG bebop tenor
so auto-nominally praise his parents then pivot the goal posts to paint my ear canal with jazz scores
Norman Granz and Gjon Mili circa 1950 collaborate to capture a collage of studio music and pantomime
six years before they documented Jammin' the Blues
probably cast the net wider on that thought in a future post
as for the current one
Charlie Parker - alto
Coleman Hawkins - tenor
Hank Jones - piano
Ray Brown - bass
Buddy Rich - drums
Hawk the elder at 46
Bird Hank and Rich early 30s
only topic left is Ray Brown
youngest at 24 and just before four decades of Oscar Peterson collaboration
as for Jammin' the Blues
i'll just post these three for now
do not underestimate the importance of Lester Young and Illinois Jacquet
along with Marie Bryant of course
Incredible recording! Coleman Hawkins: Studied harmony and composition, learned piano and cello. Performed with Mamie Smith, Fletcher Henderson, Django Reinhardt. Leader of first bebop sessions with Dizzy Gillespie and another session with Miles Davis and Max Roach (~1944). His recording of Body and Soul in 1939 was revolutionary in that he discarded the melody. A pre-cursor to the bebop era, he didn't fully embrace bebop, but was comfortable with it. Died 1969. Some authorities credit Louis Armstrong with teaching Coleman Hawkins (and the whole Fletcher Henderson band) to swing when Armstrong was in the Fletcher Henderson band in 1924-1925. I find him interesting in that his career spans vaudeville, early jazz, swing, and bebop and that he was hugely influential in late swing and early bebop. Note that he was in Europe from 1934-1939 and a huge influence on Django's playing and probably vice-versa. There are reports of jam sessions with Django and Hawkins where they would play chorus after chorus of the same standard for 40 minutes or more.