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Sonny Rollins|Sonny Meets Hawk!

Sonny Meets Hawk!

Sonny Rollins

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Throughout a career that spanned more than 40 years, Coleman Hawkins consistently maintained a progressive attitude, operating at or near the cutting edge of developments in jazz. If Hawk's versatility came in handy when he backed Abbey Lincoln during Max Roach's 1960 We Insist! Freedom Now Suite, he took on an assignment of challenging dimensions when in 1963 he cut an entire album with Sonny Rollins in the company of pianist Paul Bley, bassists Bob Cranshaw and Henry Grimes, and drummer Roy McCurdy. Coleman Hawkins and Sonny Rollins each virtually defined the tenor saxophone for his respective generation. To hear the two of them interacting freely is a deliciously exciting experience. Hawkins is able to cut loose like never before. Sometimes the two collide, locking horns and wrestling happily without holding back. For this reason one might detect just a whiff of Albert Ayler's good-natured punchiness, particularly in the basement of both horns; such energies were very much in the air during the first half of the 1960s. Rather than comparing this date with the albums Hawkins shared with Ben Webster (1957), Henry "Red" Allen (1957), Pee Wee Russell (1961), or Duke Ellington (1962), one might refer instead to Hawk's wild adventures in Brussels during 1962 (see Stash 538, Dali) or Rollins' recordings from around this time period, particularly his Impulse! East Broadway Run Down album of 1965. Check out how the Hawk interacts with Rollins' drawn-out high-pitched squeaking during the last minute of "Lover Man." On Sonny Meets Hawk!, possibly more than at any other point in his long professional evolution, Hawkins was able to attain heights of unfettered creativity that must have felt bracing, even exhilarating. He obviously relished the opportunity to improvise intuitively in the company of a tenor saxophonist every bit as accomplished, resourceful, and inventive as he was.
© arwulf arwulf /TiVo

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Sonny Meets Hawk!

Sonny Rollins

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1
Yesterdays (Remastered - 2000)
00:05:11

Roy McCurdy, Drums - Orrin Keepnews, Re-Issue Producer - Bob Cranshaw, Bass - Paul Goodman, Recording Engineer - Coleman Hawkins, Tenor Saxophone - Sonny Rollins, Tenor Saxophone - Jerome Kern, Composer - Otto Harbach, Composer - Paul Bley, Piano - George Avakian, Producer

Originally released 1963. All rights reserved by RCA Records, a division of Sony Music Entertainment

2
All The Things You Are (1999 Remastered)
00:09:34

Roy McCurdy, Drums - Orrin Keepnews, Re-Issue Producer - Bob Cranshaw, Bass - Paul Goodman, Recording Engineer - Coleman Hawkins, Tenor Saxophone - Sonny Rollins, Tenor Saxophone - Sonny Rollins & Co., Performer - Oscar Hammerstein II, Composer - Oscar Hammerstein II, Lyricist - Jerome Kern, Composer - Jerome Kern, Lyricist - Paul Brizzi, Misc. Prod. - George Avakian, Producer - Paul Bley, Piano - Dennis Ferrante, Re-Mastering Engineer

Originally released 1963. All rights reserved by RCA Records, a division of Sony Music Entertainment

3
Summertime (Remastered)
00:05:58

Ira Gershwin, Composer - Ira Gershwin, Lyricist - George Gershwin, Composer - George Gershwin, Lyricist - Roy McCurdy, Drums - Orrin Keepnews, Re-Issue Producer - Dubose Heyward, Composer - Dubose Heyward, Lyricist - Mickey Crofford, Recording Engineer - Coleman Hawkins, Tenor Saxophone - Sonny Rollins, Tenor Saxophone - Henry Grimes, Bass - Sonny Rollins & Co., Performer - Paul Brizzi, Misc. Prod. - George Avakian, Producer - Paul Bley, Piano - Dennis Ferrante, Re-Mastering Engineer

Originally released 1963. All rights reserved by RCA Records, a division of Sony Music Entertainment

4
Just Friends (2000 Remastered)
00:04:40

Samuel Lewis, Composer - John Klenner, Composer - Roy McCurdy, Drums - Orrin Keepnews, Re-Issue Producer - Mickey Crofford, Recording Engineer - Coleman Hawkins, Tenor Saxophone - Sonny Rollins, Tenor Saxophone - Henry Grimes, Bass - Paul Brizzi, Misc. Prod. - Paul Bley, Piano - George Avakian, Producer - Dennis Ferrante, Re-Mastering Engineer

Originally released 1963. All rights reserved by RCA Records, a division of Sony Music Entertainment

5
Lover Man (Remastered)
00:08:54

James Sherman, Composer - James Sherman, Lyricist - Roy McCurdy, Drums - Orrin Keepnews, Re-Issue Producer - Bob Cranshaw, Bass - Paul Goodman, Recording Engineer - Coleman Hawkins, Tenor Saxophone - Roger Ramirez, Composer - Roger Ramirez, Lyricist - Sonny Rollins, Tenor Saxophone - Sonny Rollins & Co., Performer - James Edward Davis, Composer - James Edward Davis, Lyricist - Paul Brizzi, Misc. Prod. - George Avakian, Producer - Paul Bley, Piano - Dennis Ferrante, Re-Mastering Engineer

Originally released 1963. All rights reserved by RCA Records, a division of Sony Music Entertainment

6
At McKie's (Remastered)
00:07:03

Roy McCurdy, Drums - Orrin Keepnews, Re-Issue Producer - Mickey Crofford, Recording Engineer - Coleman Hawkins, Tenor Saxophone - Sonny Rollins, Composer - Sonny Rollins, Lyricist - Sonny Rollins, Tenor Saxophone - Henry Grimes, Bass - Sonny Rollins & Co., Performer - Paul Brizzi, Misc. Prod. - Paul Bley, Piano - George Avakian, Producer - Dennis Ferrante, Re-Mastering Engineer

Originally released 1963. All rights reserved by RCA Records, a division of Sony Music Entertainment

7
You Are My Lucky Star (Remastered 1999)
00:03:47

Orrin Keepnews, Re-Issue Producer - Ray Hall, Recording Engineer - Don Cherry, Trumpet - Arthur Freed, Composer - Arthur Freed, Lyricist - Sonny Rollins, Tenor Saxophone - Henry Grimes, Bass - Sonny Rollins & Co., Performer - Nacio Herb Brown, Composer - Nacio Herb Brown, Lyricist - Paul Brizzi, Misc. Prod. - Billy Higgins, Drums - George Avakian, Producer - Dennis Ferrante, Re-Mastering Engineer

(P) Recorded Prior to 1972. All Rights Reserved by BMG Music

8
I Could Write A Book (Remastered 1999)
00:03:16

Richard Rodgers, Composer - Richard Rodgers, Lyricist - Orrin Keepnews, Re-Issue Producer - Ray Hall, Recording Engineer - Don Cherry, Trumpet - Sonny Rollins, Tenor Saxophone - Henry Grimes, Bass - Sonny Rollins & Co., Performer - Lorenz Hart, Composer - Lorenz Hart, Lyricist - Paul Brizzi, Misc. Prod. - Billy Higgins, Drums - George Avakian, Producer - Dennis Ferrante, Re-Mastering Engineer

Originally released 1963. All rights reserved by RCA Records, a division of Sony Music Entertainment

9
There Will Never Be Another You (Remastered)
00:05:45

Orrin Keepnews, Re-Issue Producer - Ray Hall, Recording Engineer - Mack Gordon, Composer - Mack Gordon, Lyricist - Don Cherry, Trumpet - Sonny Rollins, Tenor Saxophone - Henry Grimes, Bass - Harry Warren, Composer - Harry Warren, Lyricist - Sonny Rollins & Co., Performer - Paul Brizzi, Misc. Prod. - Billy Higgins, Drums - George Avakian, Producer - Dennis Ferrante, Re-Mastering Engineer

Originally released 1963. All rights reserved by RCA Records, a division of Sony Music Entertainment

Album Description

Throughout a career that spanned more than 40 years, Coleman Hawkins consistently maintained a progressive attitude, operating at or near the cutting edge of developments in jazz. If Hawk's versatility came in handy when he backed Abbey Lincoln during Max Roach's 1960 We Insist! Freedom Now Suite, he took on an assignment of challenging dimensions when in 1963 he cut an entire album with Sonny Rollins in the company of pianist Paul Bley, bassists Bob Cranshaw and Henry Grimes, and drummer Roy McCurdy. Coleman Hawkins and Sonny Rollins each virtually defined the tenor saxophone for his respective generation. To hear the two of them interacting freely is a deliciously exciting experience. Hawkins is able to cut loose like never before. Sometimes the two collide, locking horns and wrestling happily without holding back. For this reason one might detect just a whiff of Albert Ayler's good-natured punchiness, particularly in the basement of both horns; such energies were very much in the air during the first half of the 1960s. Rather than comparing this date with the albums Hawkins shared with Ben Webster (1957), Henry "Red" Allen (1957), Pee Wee Russell (1961), or Duke Ellington (1962), one might refer instead to Hawk's wild adventures in Brussels during 1962 (see Stash 538, Dali) or Rollins' recordings from around this time period, particularly his Impulse! East Broadway Run Down album of 1965. Check out how the Hawk interacts with Rollins' drawn-out high-pitched squeaking during the last minute of "Lover Man." On Sonny Meets Hawk!, possibly more than at any other point in his long professional evolution, Hawkins was able to attain heights of unfettered creativity that must have felt bracing, even exhilarating. He obviously relished the opportunity to improvise intuitively in the company of a tenor saxophonist every bit as accomplished, resourceful, and inventive as he was.
© arwulf arwulf /TiVo

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