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.
Michelle
Coleman Hawkins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
These are words that go together well,
Ma Michelle.
Michelle, ma belle.
Sont des mots qui vont trиs bien ensemble,
Trиs bien ensemble.
That's all I want to say.
Until I find a way
I will say the only words I know that
You'll understand.
Michelle, ma belle.
Sont des mots qui vont trиs bien ensemble,
Trиs bien ensemble.
I need to, I need to, I need to.
I need to make you see,
Oh, what you mean to me.
Until I do I'm hoping you will
Know what I mean.
I love you...
I want you, I want you, I want you.
I think you know by now
I'll get to you somehow.
Until I do I'm telling you so
You'll understand.
Michelle, ma belle.
Sont des mots qui vont trиs bien ensemble,
Trиs bien ensemble.
I will say the only words I know that
You'll understand, ma Michelle.
The lyrics of the song "Michelle" by Coleman Hawkins describe the love of the singer for a woman named Michelle. The repetition of the phrase "Michelle, ma belle" captures the singer's affection for her, emphasizing her beauty and charm. The singer expresses his deep love for Michelle by repeatedly telling her that he loves her, but he is not yet capable of finding the right words to express the depth of his feelings.
The singer's desire to communicate his love to Michelle is evident in the second verse of the song. He says that he needs to make her see how much he loves her, and he hopes that she understands what he means while he struggles to find the right words. The repeated phrase "Sont des mots qui vont très bien ensemble" (These are words that go together well) emphasizes the singer's belief that the words he chooses to express his love for Michelle are significant and that they form a perfect combination.
Overall, the song "Michelle" is an expression of the singer's deep love for the woman he is addressing. Through the repetition of phrases and the use of simple yet powerful words, the song captures the longing and desire of the singer to express his love to Michelle.
Line by Line Meaning
Michelle, ma belle.
Addressing the person he is devoted to, named Michelle, with utmost love and respect.
These are words that go together well,
Expressing how Michelle's name complements the word 'ma belle' and signifies their deep relationship.
Ma Michelle.
Endearingly referring to Michelle by making her name a part of the sentence.
Sont des mots qui vont très bien ensemble,
Stating how the two phrases, 'Michelle' and 'ma belle,' have a significant importance as they blend perfectly with each other.
Très bien ensemble.
Reiterating the idea that the previous two lines naturally assimilate with each other to express devotion to Michelle.
That's all I want to say.
Acknowledging that he has found his true love and doesn't need to express it in elaborate language.
Until I find a way
Implying that he is now determined to prove his love to Michelle, but he hasn't found the right way yet.
I will say the only words I know that
Making a promise to express his true heart's feelings by only using the limited vocabulary he has but in the best way possible.
You'll understand.
Expecting Michelle to be able to grasp the intensity and depth of his love through his words.
I need to, I need to, I need to.
Expressing his eagerness to make Michelle comprehend his love's intensity.
I need to make you see,
Promising to convince Michelle of his true love and bring her closer to him.
Oh, what you mean to me.
Emphasizing how much he treasures Michelle and how his life has transformed since she has come into it.
Until I do I'm hoping you will
With fervent expectations, conveying that he trusts Michelle to perceive the strength of his love without any explicit appreciation.
Know what I mean.
Concluding that he hopes Michelle will decipher his love's true meaning and reciprocate it back.
I want you, I want you, I want you.
Asserting his love for Michelle by repeatedly stating his desire to have her in his life.
I think you know by now
Presuming that Michelle has realized the depth of his love through his earlier words and actions.
I'll get to you somehow.
Conveying his determination in reaching out to Michelle with utmost passion and force, even if slow or gradual.
Until I do I'm telling you so
Further emphasizing that he is repeatedly confessing his love to Michelle till they are together or he is successful in making her understand the intensity of his love.
You'll understand.
Reiterating that Michelle shall comprehend his true love's worth and considerate gestures towards her sooner or later.
Michelle, ma belle.
Repeating the words signifying Michelle's importance while praising her again.
Sont des mots qui vont très bien ensemble,
Reiterating how the phrases 'Michelle' and 'ma belle,' fit perfectly together synonymizing the essence of the bond.
Très bien ensemble.
Concluding with emphasizing their intertwined fates and connection through their quest in life.
I will say the only words I know that
Repeating a part of the earlier line signifying a promise and affirming his dedication to Michelle.
You'll understand, ma Michelle.
Concluding with utmost respect and admiration of his beloved by addressing her again while expressing trust in her to understand him and reciprocate his love.
Contributed by Tristan O. Suggest a correction in the comments below.