Fellow saxophonist Lester Young, known as "Pres", commented in a 1959 interview with The Jazz Review: "As far as I'm concerned, I think Coleman Hawkins was the President first, right? As far as myself, I think I'm the second one." Miles Davis once said: "When I heard Hawk, I learned to play ballads."
One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: "there were some tenor players before him, but the instrument was not an acknowledged jazz horn".
Hawkins was born in Saint Joseph, Missouri, in 1904. Although some sources say 1901, there is no evidence to prove an earlier date; instead, there is record of Hawkins's parents' first child, a girl, being born in 1901 and dying at the age of two, possibly basis for the mistaken belief. He was named Coleman after his mother Cordelia's maiden name.
He attended high school in Chicago, then in Topeka, Kansas at Topeka High School. He later stated that he studied harmony and composition for two years at Washburn College in Topeka while still attending high school. In his youth he played piano and cello and started playing saxophone at the age of nine; by the age of fourteen he was playing around eastern Kansas.
Hawkins's first major gig was with Mamie Smith's Jazz Hounds in 1921, and he was with the band full time from April 1922 to 1923, when he settled in New York City. In the Jazz Hounds, he coincided with Garvin Bushell, Everett Robbins, Bubber Miley and Herb Flemming, among others. Hawkins joined Fletcher Henderson's Orchestra, where he remained until 1934, sometimes doubling on clarinet and bass saxophone. Hawkins's playing changed significantly during Louis Armstrong's tenure with the Henderson Orchestra (1924–25). In the late 1920s, Hawkins also participated in some of the earliest interracial recording sessions with the Mound City Blue Blowers. During his time with Henderson, he became a star soloist with an increasing amount of solos space on records. While with the band, he and Henry "Red" Allen recorded a series of small group sides for ARC (on their Perfect, Melotone, Romeo, and Oriole labels). Hawkins also recorded a number of solo recordings, with either piano or with a pick-up band of Henderson's musicians in 1933–34, just prior to his period in Europe. He was also featured on a Benny Goodman session on February 2, 1934 for Columbia, which also featured Mildred Bailey as guest vocalist.
In late 1934, Hawkins accepted an invitation to play with Jack Hylton's orchestra in London, and toured Europe as a soloist until 1939, performing and recording with Django Reinhardt and Benny Carter in Paris in 1937. Following his return to the United States, on October 11, 1939, he recorded a two-chorus performance of the pop standard "Body and Soul", which he had been performing at Bert Kelly's New York venue, Kelly's Stables. In a landmark recording of the swing era, recorded as an afterthought at the session, Hawkins ignores almost all of the melody, with only the first four bars stated in a recognizable fashion. In its exploration of harmonic structure it is considered by many to be the next evolutionary step in jazz recording after Louis Armstrong's "West End Blues" in 1928.
After an unsuccessful attempt to establish a big band, he led a combo at Kelly's Stables on Manhattan's 52nd Street with Thelonious Monk, Oscar Pettiford, Miles Davis, and Max Roach as sidemen. Hawkins always had a keen ear for new talent and styles, and he was the leader on what is generally considered to have been the first ever bebop recording session in 1944 with Dizzy Gillespie and Max Roach. Later he toured with Howard McGhee and recorded with J. J. Johnson and Fats Navarro. He also toured with Jazz at the Philharmonic.
After 1948 Hawkins divided his time between New York and Europe, making numerous freelance recordings. In 1948 Hawkins recorded "Picasso", an early piece for unaccompanied saxophone.
Hawkins directly influenced many bebop performers, and later in his career, recorded or performed with such adventurous musicians as Sonny Rollins, who considered him as his main influence, and John Coltrane. He appears on the Thelonious Monk with John Coltrane (Jazzland/Riverside) record. In 1960 he recorded on Max Roach's We Insist! suite.
In the 1950s, Hawkins performed with more traditional musicians such as Henry "Red" Allen and Roy Eldridge with whom he appeared at the 1957 Newport Jazz Festival and recorded Coleman Hawkins Encounters Ben Webster with fellow tenor saxophonist Ben Webster along with Oscar Peterson (piano), Herb Ellis (guitar), Ray Brown (bass), and Alvin Stoller (drums). In the 1960s, he appeared regularly at the Village Vanguard in Manhattan.
Meanwhile, Hawkins had began to drink heavily and his recording output began to wane. However, he did manage to record some notable albums, including an album for the Impulse! label with Duke Ellington. His last recording was in 1967.
With failing health, Hawkins succumbed to pneumonia in 1969 and is interred in the Yew Plot at the Woodlawn Cemetery in the Bronx.
The Song of the Hawk, a 1990 biography written by British jazz historian John Chilton, chronicles Hawkins's career as one of the most significant jazz performers of the 20th century.
Chicago
Coleman Hawkins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Chicago, Chicago, I will show you around
I love it
Bet your bottom dollar you'll lose the blues
In Chicago, Chicago
The town that Billy Sunday couldn't shut down
On State Street that great street I just want to say
They do things they don't do on Broadway
I saw a man, he danced with his wife
In Chicago, Chicago my hometown
Chicago, Chicago, that toddlin' town
Chicago, Chicago, I'll show you around
I love it
Bet your bottom dollar you'll lose the blues
In Chicago, Chicago
The town that Billy Sunday couldn't shut down
On State Street that great street I just want to say
They do things that they don't do on Broadway
They have the time the time of their life
I saw a man and he danced with his wife
In Chicago
Chicago
Chicago, that's my hometown
The song "Chicago" by Coleman Hawkins is a classic ode to the city of Chicago. The opening lyrics repeat "Chicago, Chicago, that toddlin' town," which refers to the lively and bustling nature of the city. The second line, "I will show you around," suggests that the singer of the song is familiar with the city and wants to give an insider's tour of all the great things it has to offer.
The chorus of the song is upbeat and optimistic, with lyrics like "Bet your bottom dollar you'll lose the blues in Chicago," suggesting that the city has a way of lifting people's spirits. The line "The town that Billy Sunday couldn't shut down" is a reference to the famous Billy Sunday, a former baseball player turned preacher who attempted to shut down saloons and other vices in Chicago during the Prohibition era. The fact that he couldn't shut down the city speaks to its irrepressible spirit.
The lyrics go on to reference State Street, a famous shopping and entertainment district in downtown Chicago, with the line "They do things they don't do on Broadway." The song paints a picture of people having the time of their lives, dancing and enjoying themselves, with the singer noting that he even saw a man dancing with his wife. The final line, "Chicago, that's my hometown," suggests that despite the city's flaws, the singer still has a deep sense of affection and loyalty for it.
Overall, "Chicago" is an upbeat and celebratory song that captures the essence of the city's lively and energetic culture.
Line by Line Meaning
Chicago, Chicago, that toddlin' town
Chicago, a bustling and lively city
Chicago, Chicago, I will show you around
I am proud of my hometown and happy to give you a tour
I love it
I have a deep affection for Chicago
Bet your bottom dollar you'll lose the blues
Chicago is so exciting that it will make you forget your worries
In Chicago, Chicago, the town that Billy Sunday couldn't shut down
Chicago is a city that even a famous prohibitionist preacher couldn't tame
On State Street that great street I just want to say
State Street is an amazing place that I must mention
They do things they don't do on Broadway
Chicago has its own unique culture and experiences that differ from New York City
They have a time, the time of their life
People in Chicago know how to have fun
I saw a man, he danced with his wife
I witnessed a happy moment of love and joy in the city
In Chicago, Chicago my hometown
Chicago is a special place to me because it is where I grew up
Chicago, Chicago, that toddlin' town
Chicago remains a vibrant and energetic city
Chicago, Chicago, I'll show you around
I am happy to guide you through Chicago's many sights and experiences
I love it
My love for Chicago remains unwavering
Bet your bottom dollar you'll lose the blues
Chicago is a city that never fails to lift your spirits
In Chicago, Chicago, the town that Billy Sunday couldn't shut down
Chicago is a city full of life and freedom
On State Street that great street I just want to say
Once again, I must mention the greatness of State Street
They do things that they don't do on Broadway
Chicago's culture and experiences cannot be found anywhere else
They have the time the time of their life
Chicagoans know how to make the most out of life
I saw a man and he danced with his wife
Love and happiness can be found all over the city
In Chicago
Once more, I express my love for my hometown
Chicago
Chicago remains a city that I will always be proud to call my own
Chicago, that's my hometown
In conclusion, Chicago is a city that holds a special place in my heart
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: CHE SMITH, MARC D. SHEMER
Lyrics Licensed & Provided by LyricFind