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.
In A Mellow Tone
Coleman Hawkins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Feeling fancy free
And I'm not alone
I've got company
Everything's OK
The live long day
With this mellow song
In a mellow tone
That's the way to live
If you mope and groan
Something's gotta give
Just go your way
And laugh and play
There's joy unknown
In a mellow tone
In a mellow tone
In a mellow tone
Feeling fancy free
And I'm not alone
I've got company
Everything's OK
The live long day
With this mellow song
I can't go wrong
In a mellow tone
That's the way to live
If you mope and groan
Something's gotta give
Just go your way
And laugh and play
There's joy unknown
In a mellow tone
In a mellow tone
In a mellow tone
The song "In A Mellow Tone" by Coleman Hawkins is all about the importance of a relaxed, carefree attitude in life. The lyrics convey a sense of happiness and contentment, as the singer describes feeling "fancy free" and accompanied by good company. Throughout the song, he emphasizes the importance of a mellow demeanor, suggesting that it is the key to happiness.
The song encourages listeners to enjoy life and not take things too seriously, asserting that "there's joy unknown in a mellow tone." The lyrics also suggest that a positive attitude is crucial, warning that "if you mope and groan, something's gotta give." Overall, the song's message is one of relaxation, happiness, and living in the moment.
Interestingly, "In A Mellow Tone" was initially composed by Duke Ellington, and it became a jazz standard after Hawkins recorded his rendition of it. The song has since been performed and interpreted by countless jazz musicians, and it remains a beloved classic to this day.
Line by Line Meaning
In a mellow tone
This is a song about feeling relaxed and at ease.
Feeling fancy free
Feeling carefree and unburdened by stress or responsibility.
And I'm not alone
I am surrounded by like-minded people who are also enjoying life in a similar way.
I've got company
I have people to share my experiences and good feelings with.
Everything's OK
There is no need to worry or feel anxious about anything.
The live long day
All day long, from morning to night.
With this mellow song
This particular song contributes to the relaxed state of mind that I am experiencing.
I can't go wrong
As long as I maintain this positive outlook and mood, everything will be just fine.
That's the way to live
Living in a relaxed and carefree way is the ideal way to be.
If you mope and groan
If you are constantly unhappy and complain all the time...
Something's gotta give
...eventually, something is going to have to change.
Just go your way
Just be yourself and do what makes you happy.
And laugh and play
Enjoy life and have fun.
There's joy unknown
There is unexplored and untapped happiness waiting for you if you approach life with a positive and relaxed attitude.
In a mellow tone
One more time, it's all about being chill and relaxed!
Lyrics © EMI Music Publishing
Written by: DUKE ELLINGTON
Lyrics Licensed & Provided by LyricFind
chewoo69
Tracks:
A1 You Blew Out The Flame In My Heart 00:00
A2 I Want To Be Loved 06:00
A3 In A Mellow Tone 11:57
A4 Greensleeves 18:45
B1 Through For The Night 22:00
B2 Until The Real Thing Comes Along 26:44
B3 The Sweetest Sounds 31:28
B4 Then I'll Be Tired Of You 35:48
Credits:
Ron Carter, George Duvivier, bass
Ray Bryant, Tommy Flanagan, Red Garland, piano
Kenny Burrell, Tiny Grimes, guitar
Eddie 'Lockjaw' Davis, saxophone
Coleman Hawkins, saxophone
mistermister668
Tracks:
A1 You Blew Out The Flame In My Heart 00:00
A2 I Want To Be Loved 06:00
A3 In A Mellow Tone 11:57
A4 Greensleeves 18:45
B1 Through For The Night 22:00
B2 Until The Real Thing Comes Along 26:44
B3 The Sweetest Sounds 31:28
B4 Then I'll Be Tired Of You 35:48
Credits:
Ron Carter, George Duvivier, bass
Ray Bryant, Tommy Flanagan, Red Garland, piano
Kenny Burrell, Tiny Grimes, guitar
Eddie 'Lockjaw' Davis, saxophone
Coleman Hawkins, saxophone
Henri de Lagardère
B1 NYC. April 3, 1959
Charlie Shavers (tp), Coleman Hawkins (ts), Ray Bryant (p), Tiny Grimes (g), George Duvivier (b), Osie Johnson (dr)
A4, B2 NYC. Nov. 7, 1958
Coleman Hawkins (ts), Ray Bryant (p), Kenny Burrell (g), Wendell Marshall (b), Osie Johnson (dr)
A2 NYC. Aug. 12, 1959
Coleman Hawkins (ts), Red Garland (p), Doug Watkins (b), Charles “Specs” Wright (dr)
A1 Englewood Cliffs, NJ. Jan. 8, 1960
Coleman Hawkins (ts), Vic Dickenson (tb), Joe Thomas (tp), Tommy Flanagan (p), Wendell Marshall (b), Osie Johnson (dr)
A4 Englewood Cliffs, NJ. Jan. 29, 1960
Coleman Hawkins (ts), Tommy Flanagan (p), Wendell Marshall (b), Osie Johnson (dr)
A3 Englewood Cliffs, NJ. Dec. 30, 1960
Coleman Hawkins, Eddie 'Lockjaw' Davis (ts), Tommy Flanagan (p), Ron Carter (b), Gus Johnson (dr).
B3 Englewood Cliffs, NJ. March 30, 1962
Coleman Hawkins (ts), Tommy Flanagan (p), Major Holley (b), Eddie Locke (dr).
Ronald Unkel
The incomparable Coleman teaching us all a lesson in great swingin’ jazz. Great upload and my thanks. So do enjoy the way jazz should be played folks. G’day & Cheers!
chewoo69
Tracks:
A1 You Blew Out The Flame In My Heart 00:00
A2 I Want To Be Loved 06:00
A3 In A Mellow Tone 11:57
A4 Greensleeves 18:45
B1 Through For The Night 22:00
B2 Until The Real Thing Comes Along 26:44
B3 The Sweetest Sounds 31:28
B4 Then I'll Be Tired Of You 35:48
Credits:
Ron Carter, George Duvivier, bass
Ray Bryant, Tommy Flanagan, Red Garland, piano
Kenny Burrell, Tiny Grimes, guitar
Eddie 'Lockjaw' Davis, saxophone
Coleman Hawkins, saxophone
mistermister668
Tracks:
A1 You Blew Out The Flame In My Heart 00:00
A2 I Want To Be Loved 06:00
A3 In A Mellow Tone 11:57
A4 Greensleeves 18:45
B1 Through For The Night 22:00
B2 Until The Real Thing Comes Along 26:44
B3 The Sweetest Sounds 31:28
B4 Then I'll Be Tired Of You 35:48
Credits:
Ron Carter, George Duvivier, bass
Ray Bryant, Tommy Flanagan, Red Garland, piano
Kenny Burrell, Tiny Grimes, guitar
Eddie 'Lockjaw' Davis, saxophone
Coleman Hawkins, saxophone
David Maslow
Great lineup
wally mc
thank you.
Bojan Boskovic
Good Evening! Monumentally bunch Maestro! Crystal sound!
David Maslow
Great album. Thank You mistermister!
Miguel Hernandez
Buenísimo🎹🎷💯👍Saludos desde Honduras.
james nicol
thank you for keeping the really cool alive
PaulaNess
Who are you mistermister668? Maybe not the mister we deserve, but the one we need. Thank you for educating me in jazz. I just listen to whatever comes up on your channel. I guess that slowly, I'll be able to taste and feel and differentiate playing styles; it's not unlike becoming a sommelier.