Coleman Hawkins


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Hawkins, Coleman,

1904–69, American jazz musician, b. St. Joseph, Mo. He began playing saxophone at the age of 9. He was part of Fletcher HendersonHenderson, Fletcher
(James Fletcher "Smack" Henderson), 1898–1952, American jazz composer, arranger, and pianist, b. Cuthbert, Ga. Henderson played piano from childhood. Short of funds after coming to New York City in 1920 to study graduate chemistry, he took a job with W.
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's band from 1924 until 1934. Hawkins established the tenor saxophone as a major jazz instrument. His enormous tone, vigorous attack, and improvisatory genius both in ballads and up-tempo pieces made his influence pervasive. Because his style constantly evolved, Hawkins was distinguished even in the company of avant-garde jazz musicians from 1945 until 1969.
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Hawkins, Coleman

(1904–69) jazz musician; born in St. Joseph, Mo. He was a tenor saxophonist who brought his instrument into prominence and was its most influential voice until the 1950s. He played with Fletcher Henderson's orchestra between 1924–34, then spent five years performing in Europe. Upon his return to the U.S.A. in 1939, he recorded his classic version of "Body and Soul." He remained a prolific recording artist and concert performer until the mid-1960s.
The Cambridge Dictionary of American Biography, by John S. Bowman. Copyright © Cambridge University Press 1995. Reproduced with permission.
References in periodicals archive ?
He came of age when the tenor saxophone was a relatively new solo instrument (most saxophone soloists played the alto), and the scene was dominated by Coleman Hawkins, the first great tenor sax player.
Here a member of the audience at an illegal jazz show where Coleman Hawkins performed was held to be complicit in the illegal performance, and fined 46 pounds, because the audience member was said to have encouraged Hawkins to perform by simply buying a ticket in advance of the performance (216).
The quiet, understated black-and-white images of daily life and scenes of musicians like Coleman Hawkins, Miles Davis and Elvin Jones were photographed between 1950 and 1962.
Programmes that included showcase performances by, to name but a few, Louis Armstrong, Miles Davis, Charlie Parker, Coleman Hawkins, Lester Young, Dave Brubeck, Benny Goodman, Duke Ellington, Count Basie, Billy Holiday and Ella Armstrong, should have gone out at peak time.
During the course of his career, Gottlieb took portraits of prominent jazz musicians and personalities, including Louis Armstrong, Duke Ellington, Charlie Parker, Billie Holiday, Dizzy Gillespie, Earl Hines, Thelonious Monk, Stan Kenton, Ray McKinley, Benny Goodman, Coleman Hawkins, Ella Fitzgerald, and Benny Carter.
During this time, Hinton was featured on numerous recordings accompanying Benny Carter, Benny Goodman, Lionel Hampton, Coleman Hawkins, Billie Holiday, Ethel Waters, and Teddy Wilson, to name just a few.
While the significance of these and other players is given its due in DeVeaux's narrative, it is the inscrutable and magnetic figure of tenor saxophonist Coleman Hawkins whom DeVeaux places most prominently on the hinge separating "swing" and "bop."
His novel often sings like the sound of a tenor saxophonist pitched to the tune of grieving, cracking-up, riffing - screaming our American failures and projecting the new consciousness in a spirit that combined Coleman Hawkins, at one end of the stage, and Charlie Parker, at the other.
Many, such as Dinah Washington, Coleman Hawkins and Lester Young, are gone.
Louis Armstrong, Ellington, Art Tatum, Lester Young, Count Basie, Coleman Hawkins, etc.) both 'popular' and 'avant-garde' advances in 20th century classical music (e.g.
Delius has a big, broad, classic tenor tone which harks back to Coleman Hawkins, but his approach to jazz is thoroughly modern and improvisatory.
Randy Weston: Oh, Count Basie, Duke Ellington, Coleman Hawkins, you know, Louis Armstrong, Art Tatum, Earl Hines.