COLEMAN HAWKINS SWING FOUR Heywood Pettiford Manne GERSHWIN The Man I Love

$

19

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A series of great  JAZZ Records from early Ragtime to Beb-Bop on 78 rpm Victrola Records

From the rare SIGNATURE sessions

in cool Be Bop

Coleman Hawkins Swing Four - The Man I Love / Sweet Lorraine

Coleman Hawkins Swing Four
Coleman Hawkins (ts) Eddie Heywood, Jr (p)
Oscar Pettiford (b); Shelly Manne (d)
New York City, December 23, 1943

extended play 12" 78 rpm record

Condition:

EXCELLENT MINUS, scuffs, light scratch end of Lorraine plays quiet w some hiss

From RedhotJazz Site

A great musician. Single-handedly, Coleman's Saxophone solo made 'Body and Soul' an American Standard. The embouchure of the reed men of the '30s and '40s was a thing of beauty.

Coleman Hawkins was the first great saxophonist of Jazz. As a child he was a gifted musician. In 1922, Mamie Smith spotted him in Jesse Stone and his Blues Serenaders in Kansas City theatre and hired him away to play with her Jazz Hounds. Hawkins stayed with Smith until 1923, and appeared on some of her records. After leaving The Jazz Hounds, he played with Wilbur Sweatman and then made his first recordings with Fletcher Henderson. He joined Henderson's Orchestra in 1924 and stayed with him for the next ten years. In addition to his work with Henderson, he recorded with McKinney's Cotton Pickers, and with Red McKenzie's Mound City Blue Blowers in 1929. When he left Henderson in 1934 he moved to Europe, and stayed there until 1939 playing first with Jack Hylton's Orchestra in England and then traveling and recording throughout the continent. In 1937 he appeared on a famous recording date with Benny Carter, Django Reinhardt and Stéphane Grappelli. In 1939 as World War II started, Hawkins wisely returned to America. He recorded a version of "Body and Soul" in 1940 that became his most famous record. Hawkins was one of the few Hot Jazz musicians who made the shift to Be Bop in the Forties. He hired Thelonious Monk for his quartet in 1944 and led an early bop recording session the same year which included Dizzy Gillespie. He also hired Miles Davis and Max Roach to play on his bands early in their careers. In 1946 he recorded with J.J. Johnson and Fats Navarro. By the early 1950s, the innovations of Lester Young and Charlie Parker made Hawkins' style seem a bit old fashioned. However Hawkins was able to adapt to the changing currents in Jazz again, when he teamed up with Roy Eldridge. Throughout the rest Fifties and Sixties he appeared on records made by Thelonious Monk, Max Roach, Eric Dolphy and John Coltrane. In the early 1960s Coleman Hawkins recorded with Duke Ellington, and made a record with Sonny Rollins.
 

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Quick note on grading:

The Grade (Excellent to Fair, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately

When I listen to a record, I may also give it an aural grade (again E to F), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.
"SUPERQUIET" is basically noiseless, like a vinyl pressing.
"VERY QUIET" is an quiet record for a given pressing.
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