‘Coleman Hawkins Encounters Ben Webster’: Genius At Work

Udiscovermusic ^ | October 16, 2024 | Richard Havers

[nickcarraway]

This relaxed, sensitive masterpiece is full of lyricism and warmth.

On October 16, 1957, one of the great studio sessions of the decade took place in Capitol’s famous studios in Hollywood. The brilliant tenor saxophonist Coleman Hawkins spent much of the day and evening in the studios recording two separate albums with producer Norman Granz for Verve Records: The Genius Of Coleman Hawkins and Coleman Hawkins Encounters Ben Webster.

The 52-year-old Hawkins was there, working with pianist Oscar Peterson’s regular trio of Herb Ellis (guitar), Ray Brown (bass), and drummer Alvin Stoller. The musicians recorded twelve songs that were released in the aptly named The Genius Of Coleman Hawkins.

Among the standouts from the session of standards are Duke Ellington’s “In A Mellow Tone” and “My Melancholy Baby” that have Hawk in fine form that leaves you feeling all warm inside and a smile on your face. There may be one too many slow numbers on this album, but the relaxed feel is one of its strengths — the kind of album to play someone who is not sure if they’re too keen on jazz.

Miles Davis once said, “When I heard Hawk, I learned to play ballads.” Listen to The Genius Of Coleman Hawkins and you will understand what he was getting at.

By the evening, Hawk and the other musicians were joined by 48-year-old Ben Webster, and the result was Coleman Hawkins Encounters Ben Webster. It’s a jazz masterclass. All seven numbers are standards, but this is no mere run through of tried and tested songs — these are some of the most beautiful versions of these songs ever committed to vinyl.

“Blues for Yolande” has the two tenor players battling it out on a shuffle with Hawkins screaming through his horn, while Webster is more plaintive in response. The record includes some of the most beautiful ballad-playing of their long and fruitful careers, including “It Never Entered My Mind” and “Prisoner of Love.” Hawkins is the gruffer of the two, while Webster floats in such a beguiling way.

“You’d Be So Nice To Come Home To” swings hard, and it’s almost impossible not to tap your feet while listening, which also shows why Peterson’s trio was so in demand as accompanists. They are ever-present, providing the perfect platform for two jazz giants to weave the magic around.

This relaxed, sensitive masterpiece is full of lyricism and warmth, both features that are to be found all too rarely in modern jazz with the emphasis can be on harmony and complexity. Hawkins & Webster prove that they are masters of their craft and giants of the tenor saxophone.

If The Genius Of Coleman Hawkins was the hors d’oeuvre, then Coleman Hawkins Encounters Ben Webster is the main course — and one that should be in every jazz lover’s collection.

[sushiman]

One of my fave jazz albums . I have the vinyl and the CD , I often play drums along with it in my humble music space on the 2nd floor of our home here in Japan .

[normbal]

Thank you.

Another one for my collection.

Can’t wait to hear it.

[rlmorel]

Oh, yeah.

Ben Webster is my favorite tenor. I absolutely love his sound. When I got out of the Navy, I decided to learn to play the sax, and I began listening to all of them.

I love a specific album by John Coltrane: "Ballads". Just beautiful. My favorite album. But a lot of his other stuff didn't appeal to me.

Love Coleman Hawkins.

But I love Ben Webster's sound overall. There is something about it that appeals to me. His nickname was "The Brute".

This is my favorite picture of him:

I heard a story that he said he met Joe Louis (pretty sure it was him) in a bar one time, and told him to punch him as hard as he could, because he could take any punch. Heh, Joe Louis broke his ribs...:)

I can hear two notes and pick out Ben Webster!

[nickcarraway]

I agree with you about a lot. Coleman Hawkins is my favorite tenor, but Ben Webster is right there.

Webster is in the Hawkins school, and he is often, "The Brute," but later career also has that breathy romantic style on ballads.

There are a lot of good bootlegs of him in Europe in the 60's, and Hawkins.

I think Webster mostly lived in Europe until he died. I think by the 60's there was just much more of a market for these jazz guys in Europe than there was in the U.S. Sad.

[rlmorel]

I. Just. Loved. His. Phrasing.

Something unique...well. He lived a tough life, but he got to make music!

[nickcarraway]

Yes, his phrasing is amazing. And I think it's sometimes inspired by actual vocalists.

His The Warm Moods was the first non-Frank Sinatra on Reprise records, and I think Webster plays off Sinatra's phrasing on some of the songs.

[sushiman]

You might want to check out Ike Quebec’s BLUE & SENTIMENTAL , Gene Ammons’ BOSS TENOR , Arnett Cobb’s BLUES AND BALLADs and Lester Young’s LESTER YOUNG WITH THE OSCAR PETERSON TRIO . I’m a drummer but a huge fan of the tenor sax .

[rlmorel]

Thank you for the suggestions!

[rlmorel]

That is an interesting observation. Honestly, I didn’t care much for Frank Sinatra until...after I became interested in Ben Webster! Perhaps it is just getting older, but I wonder if there is any connection there...:)

[sushiman]

Ben did play on Sinatra’s “ Sinatra and Swingin’ Brass “ album from 1962 .