Coleman Hawkins Encounters Ben Webster
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Coleman Hawkins, tenor saxophone [click here to see more vinyl featuring Coleman Hawkins]
Ben Webster, tenor saxophone [click here to see more vinyl featuring Ben Webster]
Oscar Peterson, piano [click here to see more vinyl featuring Oscar Peterson]
Ray Brown, bass [click here to see other vinyl featuring Ray Brown]
Herb Ellis guitar
Alvin Stoller, drums
Written by Coleman Hawkins (A1), Richard Rodgers and Lorenz Hart (A2), Paul Dupont (A3), Allan Stuart (A3), Cole Porter (B1), Russ Columbo (B2), Clarence Gaskill (B2), Leo Robin (B2), Johnny Mercer, (B3) Victor Schertzinger (B3), Jack Norworth (B4), Nora Bayes (B4)
1 LP, standard sleeve printed by Stoughton Printing Co.
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12''
Stereo
Studio
Record Press : Quality Record Pressings
Label : Verve records
Original Label : Verve records
Recorded in Hollywood, CA, October 16th 1957
Original sessions produced by Norman Granz
Remastered by Ryan Smith at Sterling Sound
Reissue supervised by Chad Kassem
Originally released in 1959
Reissued in December 2023
Tracks :
Side A:
- Blues for Yolande
- It Never Entered My Mind
- Rosita
Side B:
- You'd Be So Nice to Come Home To
- Prisoner of Love
- Tangerine
- Shine On Harvest Moon
Reviews :
“It's a somewhat rare phenomenon these days for a classic jazz album to be reissued by its copyright ‘owners’. The session in question was long hallowed in this country as Blue Saxophones rather than its original title above – maybe to distinguish the UK release, since it squeezed in an extra tune from the same date that appeared on a different album in the US. But, even without that, the relaxed feel of the session belies what was probably an abbreviated schedule – Norman Granz taped no fewer than 10 albums in the same week, including separate quintets led by Hawkins and Webster – and the results are truly glorious.
At this point, Ben was absolutely on top of his mature style, while Hawk was coming into his own (again!) with a slightly harder edge to his playing, culminating in the almost R&B hoarseness of his third chorus on ‘Blues For Yolande’ (played in D-major, by the way, while the Latin-tinged standard ‘La Rosita’ is in E!) It's worth noting that, apart from intros and a couple of brief piano solos, this is all saxophone, and much more a mutual admiration society than a cutting contest.
I'm not a fan of the early stereo separation of Peterson from the rest of the rhythm-section, but the contrast and the complementariness of the two leaders is what counts. The icing on the cake is Nat Hentoff's original liner-note discourse on the history of the tenor thus far.” Jazzwize Review by Brian Priestley
Rating:
AllMusic 4/5 , Discogs 4.49 / 5