Supreme

Coleman Hawkins | Format: Audio CD

Product Details

• Audio CD (April 18, 1995)
• Original Release Date: April 20, 1995
• Number of Discs: 1
• Label: Enja
• ASIN: B000005CBB
• In-Print Editions: Audio CD  |  MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #552,449 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

14 of 15 people found the following review helpful:

5.0 out of 5 stars Dramatic,pathetic,and magnificent : M A S T E R P I E C E !!, June 11, 2002

By 

JEAN-MARIE JUIF (BESANCON France) - See all my reviews
(REAL NAME)   

This review is from: Supreme (Audio CD)

Be careful, this is an incredible monument in the history of jazz.A gem.A milestone. A desperate masterpiece. Two of these six tunes rank among the greatest treasures of this music: "Body and soul" and "quintessence".But we'll talk about these tunes later.The first impression is given by Coleman Hawkins' picture:he's old,with a bearded face,and seems completely troubled.This is a pathetic picture of the King of tenor saxophone,the man who generated dozens of geniuses and great players,the absolute master of this instrument with Lester Young.
Recorded live at the Left Bank Jazz Society,Baltimore,MD,September 25,1966,this CD includes Gene Taylor on bass,the great Roy Brooks on drums,and the immense Barry Harris on piano.Coleman Hawkins was in the last years of his life (he'll die in 1969),and probably aged 62 or 65 at the time this set was captured.One of the most amazing geniuses of jazz was ending his life tragically,and was killing himself with whiskey.A sad love affair caused this ruin.The result is this outstanding hour of music,a tragic one,because the Bean can't blow like he would;a magnificent one,because this destitute man,even if he's out of breath, manages to reach the highest musical levels of emotion and beauty.Just like Paul Gonsalves in his Black Lion record with Earl Hines,or Pres in his last efforts,or Billie in her "Lady in satin" album.It's time to give a special thank to the trio,who does the best to help Hawk and make him comfortable,and to the audience,who could have disapproved,but who applauses and gives love to the old master.
Now,about the music: the very long "lover,come back to me",is played at a fast tempo,which causes many troubles to Hawkins;it will essentially be played by Barry Harris.Of course,Hawk's musical ideas are still here,but he can't blow them correctly."In walked Bud",a tune by Thelonious Monk,dedicated to Bud Powell,gives Hawk an opportunity to quote "blue skies"."Fine and dandy" is another fast tempo;and Hawk has the same troubles than on "lover" or "in walked Bud";his fingers aren't as fast as his thoughts,even if he manages to swing,rememebering the good old days.He even has some terrific blowing,some shades of his glorious past,even if his sound hasn't the roughness and authority anymore.
"Body and soul" definitely belongs to Hawk since 1939,and this ten minutes long version is played as if it was his last chance to blow it.This is simply sublime.Just as Paul Gonsalves' "over the rainbow" or Billie's "violets for your furs".Ten gigantic minutes of music.There are extraordinary moments of swing and tenderness here;dramatic seconds,when Hawk manages to blow one of his old phrases and brings us thirty years back;and incredible moment of emotion,a few seconds after the beginning of Barry Harris solo:Hawk comes back blowing,because this is HIS tune,because he'll maybe never blow it anymore,and Barry stops immediately his solo,very intellingently ,to let the King do it completely.Listen carefully to the audience's reactions in this tune: Hawk was really facing marvelous people this night.Finally,"quintessence",a splendid and melancholic tune by Quincy Jones,gives Hawk another opportunity to play a gigantic masterpiece;what he plays is rather simple and close to the melody,he knows he can't improvise like he did;but what he plays is a treasure of swing and a pure moment of beauty.I'm allways amazed by the intelligence of the trio,who doesn't try to balance Hawkins' playing,which is reduced to essentials,but who only supports him and let him freedom to do what he can.Again,a somptuous reaction from the audience after Hawk's solo: they were facing a giant,they heard terrific music,and they knew it.
The reverse of the booklet has a very sad picture of Hawk,walking in the night;looking at it,I think of Sam Woodyard in his last years;same hat,same overcoat,same rigid attitude;same despair,too.This is,for me,an extremely important record,a magnificent swan song,the last highlight of one of the most prestigious geniuses of jazz.

2 of 2 people found the following review helpful:

5.0 out of 5 stars The Hawk is Still Flying High in 1966, April 10, 2011

By 

karlojazz - See all my reviews

Amazon Verified Purchase

This review is from: Supreme (Audio CD)

Recorded live at the Left Bank Jazz Society in Baltimore, Maryland on September 25, 1966, this CD by tenor saxophonist and jazz icon Coleman Hawkins is a testament to both his skills at improvisation and his ability to convey deep emotions from music of several jazz genres. The Hawk is very ably supported by Barry Harris, a gifted pianist, Gene Taylor on bass, and Roy Brooks on drums (Brooks also served as the producer).The 6 tracks on this CD present a wide range of jazz styles, from the more traditional ballads popular in the 1930s and 1940s to a brief but delightful bit of bebop. The tracks included are the following:

1. Lover Come Back to Me (17:06)

2. Body and Soul (10:07)

3. In Walked Bud (16:40)

4. Quintessence (9:40)

5. Fine and Dandy (10:30)

6. Ow! (1:26)

For this reviewer, the highlight of the session is Thelonious Monk's In Walked Bud, in which Hawkins uses Monk's well-known tune as a framework on which to build an astounding extended solo using the classic standard Blue Skies. Harris, Taylor, and Brooks follow their leader's creative move and use their instruments to continue with the Blue Skies secondary theme before Hawkins comes back in near the end to re-connect to the original theme from Monk's classic. Another favorite is Quincy Jones' Quintessence, a tender and somewhat melancholy duet between sax and piano.

Although not specifically listed in Wikipedia's discography for Hawkins, this German CD on the Enja label may well be what Wikipedia is referring to when it states of Hawkins' later output that "his last recording was in late 1966."

The audience on this night is enthusiastic and, at times, a bit boisterous, but this generally does not detract from an enjoyable listening experience and the overall sound quality is excellent throughout. For anyone looking for a comprehensive introduction to the Hawk's recorded legacy,however, I would recommend compilation CDs such as Verve's Genius of Coleman Hawkins or HIP's Hawk Eyes [Hip Version].

One final comment about the Enja CD under review -- the liner notes (as is so often the case, especially with imported products) do not include any information regarding the circumstances that brought Hawkins to Baltimore for this concert, the participation of his sidemen, or the choice of tunes. Instead, a short essay on the career and influence of Coleman Hawkins written by Hans-Jurgen Schall is provided, which contains information that will probably already be known by most fans of the Hawk.

Despite these relatively minor criticisms, Supreme is very highly recommended for those who love the Hawk and more generally those who love the art of the tenor saxophone in jazz.