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.
Some Of These Days
Coleman Hawkins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
When they see you out with me.
Goodness knows
You're my honeysuckle rose
When you're passin' by flowers droop and sigh,
And I know the reason why.
Goodness knows
You're my honeysuckle rose
Don't buy sugar,
You just have to touch my cup.
You're my sugar.
It's sweeter when you stir it up.
When I'm taking sips from your tasty lips
Seems the honey fairly drips.
Goodness knows
You're my honeysuckle rose
Goodness knows
You're my honeysuckle rose
Don't buy sugar,
You just have to touch my cup.
You're my sugar.
It's sweeter when you stir it up.
When I'm taking sips from your tasty lips
Seems the honey fairly drips.
Goodness knows
You're my honeysuckle rose
The lyrics to Coleman Hawkins's "Honeysuckle Rose" describe the beauty and allure of a lover, comparing them to the sweet nectar of a honeysuckle flower. The first lines establish the singer's confidence in their companion's attractiveness, claiming that even honey bees are envious of their presence. The following lines emphasize the singer's belief that their lover is the only one for them, using the metaphor of the honeysuckle rose to convey the idea of something rare and special. The next stanza describes the effect their lover has on the world around them; the singer claims that flowers wilt in their presence and that their appeal is undeniable. The chorus repeats the sentiment that their lover is "my honeysuckle rose," and describes the sweetness and satisfaction they bring to the singer's life.
Line by Line Meaning
Every honey bee fills with jealousy,
When they see you out with me.
Other people are envious of the singer because of their relationship with the listener.
Goodness knows
You're my honeysuckle rose
The singer values the listener immensely and sees them as a constant source of sweetness and beauty.
When you're passin' by flowers droop and sigh,
And I know the reason why.
The listener's presence has a positive impact on the world around them, causing even plants to react with admiration.
Don't buy sugar,
You just have to touch my cup.
You're my sugar.
It's sweeter when you stir it up.
The listener's touch and presence is all the sweetness the artist needs in life.
When I'm taking sips from your tasty lips
Seems the honey fairly drips.
The artist finds the listener's kisses to be incredibly sweet and satisfying.
Goodness knows
You're my honeysuckle rose
The listener is an extremely important and beloved figure in the singer's life.
Goodness knows
You're my honeysuckle rose
The listener is an extremely important and beloved figure in the singer's life.
When I'm taking sips from your tasty lips
Seems the honey fairly drips.
The artist finds the listener's kisses to be incredibly sweet and satisfying.
Goodness knows
You're my honeysuckle rose
The listener is an extremely important and beloved figure in the artist's life.
Lyrics © O/B/O APRA AMCOS
Written by: IRVING CAESAR, JOSEPH MEYER, ROGER WOLFE KAHN
Lyrics Licensed & Provided by LyricFind
Lars-Göran Willny
This is the most outstanding take of "Some of these days". In 1977 I bougth another LP record to my Coleman Hawkins collection: "The Hawk in Holland" - and found this unbeatable solo by Hawkins' tenor sax. If you believe in a higher almighty power, I believe It reached out to Coleman Hawkins, not just that day, but on several occations both before and after...
René van der Bie
De zangeres die dit lied zingt is namelijk Annie de Reuver uit Rotterdam.
Heinz Becker
as clearly marked. don't forget to click on more
Henk van Gils
Dit was inderdaad Annie de Reuver, die ons 1 januari in de gezegende leeftijd van 98 jaar ontvallen is. Het was voor de 17-jarige Rotterdamse haar eerste grammofoonopname. Zij zong, samen met Coleman Hawkins en de Ramblers, behalve dit "Some of these days" ook "I have only eyes for you". De opname is gemaakt in de Pulchri Studio aan het Lange Voorhout in Den Haag.