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.
My Own Blues
Coleman Hawkins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Hurry to my Blue Heaven
Turn to the right, there's a little white light
Will lead you to my Blue Heaven
You'll see a smilin' face, a fireplace, a cozy room
Little nest that nestles where the roses bloom
Molly and me, and the baby makes three
We're happy in my, in my Blue Heaven
And a little nest nestled where the roses bloom
Just Molly and me, and the baby is three
We're so happy in my Blue Heaven
We're happy in my Blue Heaven
We're happy in my Blue Heaven!
The lyrics to Coleman Hawkins and His Orchestra's song "My Blue Heaven" paint a vivid picture of a serene and blissful place. The song is a joyful expression of finding happiness and contentment in a personal sanctuary. The opening line, "Whippoorwills call, evenin' is nigh," sets the scene of a peaceful evening, where the singer invites the listener to join them in their "Blue Heaven."
The lyrics suggest that this Blue Heaven is a special place where one can escape from the troubles of the world. It is described as a cozy room with a smiling face and a fireplace, a little nest nestled among blooming roses. The mention of "Molly and me, and the baby makes three" implies that this Blue Heaven is a family space, creating an image of domestic bliss.
Overall, the lyrics convey a sense of deep contentment and happiness, a place where the troubles of the outside world melt away and one can find solace and joy with loved ones in their personal sanctuary.
Line by Line Meaning
Whippoorwills call, evenin' is nigh
The sound of whippoorwills signals the approaching evening
Hurry to my Blue Heaven
Come quickly to my place of happiness
Turn to the right, there's a little white light
Turn towards the right and you'll see a guiding light
Will lead you to my Blue Heaven
That light will lead you to my place of happiness
You'll see a smilin' face, a fireplace, a cozy room
Inside, you'll find a welcoming, happy face, a warm fireplace, and a comfortable room
Little nest that nestles where the roses bloom
A small and intimate dwelling nestled in the midst of blooming roses
Molly and me, and the baby makes three
My partner Molly, our baby, and I - a loving family of three
We're happy in my, in my Blue Heaven
We find true happiness in our own special place
You're gonna see a smilin' face, fireplace, cozy room
You will witness a joyful expression, a comforting fireplace, and a snug room
And a little nest nestled where the roses bloom
Also, a small dwelling nestled among the beautiful roses
Just Molly and me, and the baby is three
Only Molly, me, and our three-year-old baby together
We're so happy in my Blue Heaven
The happiness we experience in our special place is immeasurable
We're happy in my Blue Heaven
Our joy knows no bounds in this place of ours
We're happy in my Blue Heaven!
We are truly content and ecstatic in our own little paradise
Lyrics © DONALDSON PUBLISHING CO, Warner Chappell Music, Inc.
Written by: George Whiting, Walter Donaldson
Lyrics Licensed & Provided by LyricFind