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.
Smoke gets in your eyes
Coleman Hawkins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
My true love was true
Oh, I of course replied
Something here inside cannot be denied
They said someday you'll find
All who love are blind
Oh, when your heart's on fire
Smoke gets in your eyes
So I chaffed them and I gaily laughed
To think they could doubt my love
Yet today my love has flown away
I am without my love
Now laughing friends deride
Tears I can not hide
Oh, so I smile and say
When a lovely flame dies
Smoke gets in your eyes
Smoke gets in your eyes
In Coleman Hawkins's song Smoke Gets in Your Eyes, the singer begins by reflecting on how his true love was questioned by those around him; however, he is certain of the strength of their love and speaks of an internal feeling that cannot be denied as evidence of the truth. The subsequent lines of the song suggest that those who love are often blinded by their emotions, but that when one's heart is on fire, it becomes important to recognize that smoke can get in your eyes. This is both a metaphorical statement about how love can be blinding, as well as a literal reference to the burning of smoke which can cause one's eyes to sting.
The second half of the song takes a more melancholic turn, as the singer's love has flown away and he is left without her. Laughing friends now deride him, and although he tries to hide his tears with a smile, he admits that when a lovely flame dies, smoke gets in your eyes. This closing line is a poignant reminder that even in the midst of heartbreak, it is important to recognize the powerful energy and passion that comes with love, and to accept the moments of pain that may accompany it.
Overall, Smoke Gets in Your Eyes is a complex and nuanced exploration of love, loss, and the emotional highs and lows that can come with romantic relationships. It is a reminder of the importance of treasuring these moments and being willing to embrace the pain as well as the joy that comes with falling in love.
Line by Line Meaning
They asked me how I knew
Someone asked me how I was sure about my true love
My true love was true
That my lover loved me in return
Oh, I of course replied
I answered them confidently
Something here inside cannot be denied
I had an undeniable feeling within me
They said someday you'll find
Others suggested that at some point in time
All who love are blind
Love can make one ignore the faults or imperfections of their beloved
Oh, when your heart's on fire
When one is deeply in love or passionate
You must realize
One needs to understand
Smoke gets in your eyes
One loses their perspective or ability to make sound judgments due to their emotions
So I chaffed them and I gaily laughed
I made fun of them for suggesting such a thing, jokingly
To think they could doubt my love
How could they question my love?
Yet today my love has flown away
Despite my confidence, my lover has left me
I am without my love
I am alone and missing my lover
Now laughing friends deride
My friends mock me now
Tears I can not hide
I am crying and cannot keep it to myself
Oh, so I smile and say
To make it seem like I am okay
When a lovely flame dies
When a strong emotional connection comes to an end
Smoke gets in your eyes
One's ability to think clearly is overshadowed by their emotions
Lyrics © Kanjian Music, Universal Music Publishing Group
Written by: Otto Harbach, Jerome Kern
Lyrics Licensed & Provided by LyricFind
wyndhl eodumegwu
+Dapdoi Ardon
Had you NOT come across as a "quid nunc-ish" TYRO of Organic Real Jazz Evolutionary History, I would have summoned you to a few of my lectures.
At least, a mere modicum of appreciation for and receptiveness of "Jazz" edification is a prerequisite.
That you have hazarded the first basic step of HEARING the "Hawk" makes me everso proud of you.
Next step: now that you have heard the progenitor and precursor of tenor saxophone improvisation, it behoves YOU to LISTEN - and then, maybe, you can more sensibly make a comparative critique.
Good luck with YOUR introduction to "Jazz Receptive Skills"😎- Basico Uno.
P.S.: Do continue your incipient hearing - and listening to American Jazz Classicism.
You may pose any relevant questions pertaining thereto.
wyndhl eodumegwu
+Dapdoi Ardon
Don Byas was merely "unsung" only in United States - only for a period on account of his migration to Europe where he was BIG - B I G, B I G, B I G
He was well respected by Hawkins, Webster, Lester Young, Paul Quinnochette, Paul Gonsalves, Herschel Evans ... the list is endless.
"Don" Byas was not only amongst the best tenors - Ballads or Blues - but was much FEARED by the best of them whom he handsomely out-performed.
The NOW "BADDEST" saxophonist Mr. JAMES CARTER will unreservedly attest to the facts of "Don" Byas's lethal but rhapsodic saxophone prowess.
"To each his own", so said a 12-year-old Rabbi of yore.
Aah-men!
wyndhl eodumegwu
+Dapdoi Ardon
Of course, Lester "Prez" Young too; don't know that he did the song; which he would have appreciably well "destroyed".
Mine has been a quick sample; there were/are Zillions of such great tenor saxophonists - also of contra-bass, bass, bari, alto, soprano and sopranino saxophones .
Sylvester "Sil" Austin was very "hot" with Blues and Organic Real Jazz; he was also famous for, amongst other ballads, "Oh, Danny Boy".
He was by far the youngest - not really Hawkins's Webster's contemporary.
Sylvester "Sil" Austin and Red Prysock used to be caught up in friendly tenor saxophone duel.
Oh, what a battle!
Let me revisit "Sil" Austin, the balladeer, after which I shall be listening to one of the greatest tenor saxists of all times - Mr. Don Byas, "The Fairly Unsung Hero".
bd C
This music is the reason that I spend my time on youtube rather than watching television. The man is an absolute master!
Judy Glasel
Yup, YouTube is my TV.
arcticablue
:)
Shop Victor
Those golden sunset days in the 90's, when my dad came back from work, he placed the LP record on the player, and filled the room with this tune. He passed away due to cancer, but every time I hear Smoke gets in your eyes , I can see him sipping the tea in the sunset, and smile.
Selvam Thiagarajan
I am sure he is smiling in heaven, watching over you. :)
Raul Pertierra
These masters can say and make you feel more with one note, than a lot of these fast young cats.
Selvam Thiagarajan
This music says there is so much more to life, put on your hat go for a walk.
jacques deghorain
@Roy K la complication ne fait souvent que cacher des imperfections . La simplicité n'accepte aucune erreur.....
Evan Brill
If you knew Coleman's roots you'd laugh at yourself for saying that
Roy K
Sooo true:
Ive recently started to learn this finally.
Stop worrying about complicated riffs, and start focusing on reaching hearts.
The results and feedback are unanimous:)
And im having more fun too:)!