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.
Stardust / I Can't Get Started
Coleman Hawkins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Settled revolutions in Spain
The North Pole I have charted
But can't get started with you
And at the golf course I'm under par
Metro-Goldwyn wants me to star
I've got a house and a show place
But can't get no place with you
You're so supreme
The lyrics I write of you
Dream, dream, day and night of you
Scheme just for the sight of you
Baby but what good dose it do
I've been consulted by Franklin D.
Even Gabel had me to tea
But now I'm broken hearted
Can't get started with you
You're so supreme
The lyrics I write of you
Dream, dream, day and night of you
Scheme just for the sight of you
But what good does it do
I've been consulted by Franklin D.
Even Basic had me to tea
But now I'm broken hearted
Can't get started with you
The song "I Can't Get Started" by Coleman Hawkins is a classic jazz tune with lyrics that express the singer's frustration with his inability to connect with a person he deeply admires. The opening lines suggest that the singer has traveled the world and accomplished notable feats such as settling a revolution and charting the North Pole, but despite these achievements, he still can't make any headway with the object of his affection. The second verse describes the singer's success in other areas of his life, including golf and show business, but again, he is unsuccessful in winning over his love interest.
The repetition of the lines "You're so supreme / The lyrics I write of you / Dream, dream, day and night of you / Scheme just for the sight of you" emphasizes the singer's preoccupation with this person, and how even his successes in other areas of his life pale in comparison to his desire to be with them. The final verse underscores the point that the singer is not someone who is easily ignored or forgotten, having been consulted by prominent figures such as Franklin D. Roosevelt and Gable. However, all of this means nothing to him if he can't win the heart of the one he loves.
Overall, "I Can't Get Started" is a bittersweet lament on love and longing, as experienced by someone who has achieved many things in their life but is still struggling to attain what they truly want.
Line by Line Meaning
I've been around the world in a plane
I've had the opportunity to travel extensively by plane.
Settled revolutions in Spain
I played a role in making significant changes during revolutionary times in Spain.
The North Pole I have charted
I have explored and mapped the North Pole.
But can't get started with you
Despite all my accomplishments, I can't seem to get a foot in the door with you.
And at the golf course I'm under par
I excel in golf, regularly scoring below the par average.
Metro-Goldwyn wants me to star
Metro-Goldwyn-Mayer, a major film studio, has offered me a starring role in one of their movies.
I've got a house and a show place
I have a residence and a luxurious showplace.
But can't get no place with you
Despite having a lot of impressive things, I can't seem to make any progress with you.
You're so supreme
You are the epitome of greatness.
The lyrics I write of you
I often write lyrics about you.
Dream, dream, day and night of you
I dream of you constantly, day and night.
Scheme just for the sight of you
I come up with schemes and ideas just to get a glimpse of you.
Baby but what good dose it do
But it doesn't seem to be of any benefit to me in winning you over.
I've been consulted by Franklin D.
I have been sought out for advice by President Franklin D. Roosevelt.
Even Gabel had me to tea
Even the wealthy and influential Gabels invited me to tea.
But now I'm broken hearted
But now I feel sad and defeated.
Can't get started with you
Because I can't make any progress towards having a relationship with you.
Lyrics © MUSIC SALES CORPORATION, BMG Rights Management, Universal Music Publishing Group, Royalty Network, Songtrust Ave, Warner Chappell Music, Inc.
Written by: Ira Gershwin, Vernon Duke
Lyrics Licensed & Provided by LyricFind
Deryck Trahair
The best version of this tune I've heard. Imagine being in the audience & hearing it live. Thanks for sharing this. It's great.
Bruce Brodinsky
I love Buck Clayton's solo. Full of space and emotion. And wow, to hear Lester Young and Coleman Hawkins together, and live. What I wouldn't give to be able to go back in time to see this performance!
TheFunkyKingston
Masterpiece
DAVID HENRY GERSON
Read an interview with Allen Ginsberg, The Paris Review, 6/10/1965 - said this music,this song, not iambic pentameter, most informed his writing, if anything other than his own impulses, in his writing of Howl and Kaddish. Oof. This music fills the heart!
dtenner
Lester and Hawk both play magnificently here.
songanddanceman100
Goooooooooood stuff!