Artist: Various Artists

Artist: Coleman Hawkins

There is a slight problem with the title Coleman Hawkins, the Bebop Years: this long look at Hawkins begins in October 1939, only reaching anything identifiable as the bebop years (Monk's debut on record, as Hawk's sideman, in October 1944) towards the end of disc 3. Looking beyond the vagaries of titling (and the budget price of these proper boxed sets helps one to look further), this is a well-chosen series of snapshots of a tenor giant moving from his absolute pomp ("Body and Soul", 1939) through years of consistently high achievement (early 40s) into the challenge of bop (on the fourth disc are four tracks of the wonderful 1945 sextet featuring Howard McGhee and Oscar Pettiford, plus the Hawkins all-star session with Miles and Max Roach) and finally back to Europe for a post-war reunion of sorts. Hawkins was fiercely competitive, even with old friends like Webster and Eldridge, so there is no slacking off of effort from the frontman. Additionally, one of the most notable developments traced here is a new and uncluttered rhythmic ease. He chose his phrases more carefully, went for contrast and drama with great precision and became the more telling soloist for it. T...
Great Hawkins collection, 2004-03-03
While most of the music on this 4-CD set doesn't have a lot to do with bebob, as far as I'm concerned it is still the best Coleman Hawkins collection available. It's expertly put together by Proper Records, complete with a very informative and interesting booklet. All his best recordings from the 40's are here, and it's a joy to listen to from start to finish. 5 stars for the music of course, but also for presentation and packaging. If only all jazz reissues had been as professionally put together as this one!

Artist: Coleman Hawkins

Very enjoyable, 2009-12-17
The Genius of Coleman Hawkins is one of those albums that makes you feel good; leaves you with a smile and warm glow inside. It's generally undemanding, in a way that jazz so often isn't, but I mean that in a good way. You can enjoy this for what it is - a relaxed session between Hawkins and Oscar Peterson and his trio, which represents an aspect of jazz that feels like it's from another time.

There are, perhaps, a few too many slow numbers which gives the album an overall bias towards ballads, but depending on your mood, that's probably not a bad thing. The discreet but swinging accompaniment from Peterson and friends reminds the listener once again of the huge talents Oscar Peterson had not just as a solo artist, but also as a sensitive sideman, willing to let the star shine when the occasion demanded. Hawkins sounds on fine form, his characteristic yakety sax vibrato on display perhaps a little too often, but generally it all works well.

The Verve Master Editions releases of their jazz classics are something of a mixed blessing. On the plus side, you get detailed liner notes and decent sound quality from the re-mastering; the downside - too much repeat or out-take material that detracts from the sense of mood and occasion from the original recordings. A few extra tracks here - and some mono takes of stereo material -really don't add that much to a mix that's enjoyable enough to stand on its own. Nevertheless, a fine album.

Artist: Coleman Hawkins with the Red Garland Trio

Artist: Various Artists

Artist: Johnny Hodges

Artist: Lester Young

Artist: Ben Webster

Artist: Billie Holiday

CHANGED PRESENTATION?, 2010-02-14
The copy I bought just after it's release does indeed contain a hardback book. The discs themselves are housed in cardboard sleeves resembling the paper sleeves of old 78s in yet another hardback book. The set also included a pack of 4 postcards. I can only assume, that at some point the presentation was changed to what it is now.

Artist: Various Artists

Impeccable Lester, 2009-09-29
On the 3rd. December 1956 Lester Young started a six night residency at Olivia Davis`s Patio Lounge in Washington DC, accompanied by the Bill Potts Trio. Fortunately, Potts recorded the proceedings, which were released in 1980 by Norman Grantz`s Pablo label. The recording is surprisingly good, as not only the saxophone and piano but also the bass and drums can be heard very clearly. The recordings also disprove, once and for all, that Lester wasn`t playing very well in the 1950s. On these recordings I think that he plays as well as at any time in his career, and that these cds rank alongside his best recordings with Basie, the 1952 session with Oscar Peterson, and the Aladdin sessions. Furthermore,here is Lester Young playing "live",to an audience,not at a studio session. Lester`s phrases are smooth, and they flow effortlessly from one to the next. His sound is impeccable, with some very nice, clear, low notes. All of the tunes on vol.1 are worth hearing, but the particularly outstanding tracks are: "When You`re Smiling", "I Can`t Get Started", on which he repeats a middle eight phrase from the Oscar Peterson session, and "DB Blues". The trio accompany Lester with a nice relaxed, swinging, style; as exemplified by pianist Bill Potts, who, at times,when playing block chords, sounds a little like Dave Brubeck. My only complaint about these recordings is that, for my taste, there are, perhaps, too many bass and drum solos.