The Best Of Coleman Hawkins - Coleman Hawkins. Открывайте новую музыку каждый день. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией.
COLEMAN HAWKINS : tenor sax KENNY BURRELL : guitar RAY BRYAND : piano WENDELL MARSHALL : bass OSIE JOHNSON : drums.
Coleman Hawkins And His Orchestra - The Jazz Band Hall Of Fame Volume 2 Album. Artist: Coleman Hawkins and His Orchestra. Send "Coleman Hawkins And His Orchestra" Ringtones to your Cell. Album: The Jazz Band Hall Of Fame Volume 2. 0. 1.
Soul is an album by saxophonist Coleman Hawkins which was recorded in 1958 and released on the Prestige label. Then 52, Hawkins uses a typically young rhythm section and plays melodically on a variety of originals and standards". All compositions by Coleman Hawkins except as indicated. I Hadn't Anyone Till You" (Ray Noble) - 4:34. Groovin'" (Kenny Burrell) - 5:43.
Coleman Hawkins: все альбомы, включая Coleman Hawkins and Confrères, You're Gonna Lose Your Gal, La Vie En Rose и другие. Takin' Care of Me. Various Artists, Coleman Hawkins, Coleman Hawkins. Stringin' Along a Shoe String. Henry Red Allen, Coleman Hawkins, Coleman Hawkins, Henry Red Allen. Selected Sessions (1943-1946).
p+c 1957 Verve Records, Inc. USA.
The Dean of Saxophonists, and Hawk to his many fans. He played with Coleman Hawkins and Johnny Hodges on this brilliant Impulse! Records album from 1962. reDiscover Duke Ellington Meets Coleman Hawkins uDiscover. Recorded in August 1962, reDiscover Duke Ellington Meets Coleman Hawkins is according to the NY Times "one of the great albums of the 1960s".
Exclusive discount for Prime members. Sample this album Artist - Artist (Sample). The World is Waiting For the Sunrise, a rather unconventional choice for a 1950s jazz album, displays Hawkins' creativity for melodic invention. Miles Davis is reported to have once said, "When I heard Hawk, I learned to play ballads. Listening to this CD, it is easier to appreciate Davis' high opinion of Hawkins' softer side. Hawkins' playing comes very close to singing and his "genius" extends into his frequently inventive phrasing that slightly bends or delays the rhythm established by bass and drums.
The demonstrative yet subtle Hawkins is in full flight here, with the equally elegant Thomas and naturally subdued Dickenson in lock step.