Wednesday, December 23, 2009
Sonny ROLLINS and Coleman HAWKINS - Sonny Meets Hawk! 1963
Sonny Rollins is considered by many to be the best, or at least the most influential, modern-jazz tenor saxophonist. His elder Coleman Hawkins is widely acknowledged as the earliest innovator of the instrument, making him somewhat of a father figure to reed players; certainly, he was Rollins's biggest idol.
On this 1963 session, Rollins and Hawkins teamed up in an interesting milieu. Hawkins sits in with Rollins's band, and, surprisingly, he plays in a bop-oriented mode. On the other hand, Rollins--in an attempt to further highlight the difference between the two horns--plays in an even more contemporary style. In fact, on "All the Things You Are" and "Lover Man," Rollins occasionally falls into the realm of atonality. As always, Hawkins's playing is fluid, graceful, and polished, while Rollins's sax work is brash, experimental, and angular. However, these obvious differences make SONNY MEETS HAWK! an extremely fascinating listen.
From CD Universe.
A startling meeting of two generations of tenor sax, recorded during one of Sonny Rollins' best periods on record, but featuring some even more amazing work from Coleman Hawkins! The album's proof that in his later years, Hawkins was a modernist who could match wits with the best players of the 60s -- and blowing here with Rollins, there's an equal amount of freshness and intensity shared by both players, old and young. The backing group is equally modern too -- with Paul Bley on piano, Henry Grimes on bass, and Roy McCurdy on drums -- who together spur both Hawk and Sonny into solos that never fail to amaze! Tracks include "At McKies", "All The Things You Are", "Summertime", and "Yesterdays".
From Dusty Groove.
Paul Bley- Piano
Bob Cranshaw- Bass (Tracks: A1, A2, B2)
Henry Grimes- Bass (Tracks: A3, B1, B3)
Coleman Hawkins- Tenor Sax
Sonny Rollins- Tenor Sax
Roy McCurdy- Drums
A1. Yesterdays 5:12
A2. All The Things You Are 9:34
A3. Summertime 5:56
B1. Just Friends 4:37
B2. Lover Man 8:52
B3. At McKies' 7:01