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I'LL NEVER BE THE SAME(Matty Malneck-Fftnk Signorelli-Gus Kahn) Robbins Mvsic Corp.

YOU'RE BLASE(Ord Heilton-Btu@ Sr'eqer) Chappell & Co., Inc.

I WISHED ON THE MOON(Ralph Rainget-Dorothy Parirq) trbmous Music Corp

HOW LONG HAS THIS BEEN GOING ON(George Gqshwin-Ira Cershun) Nry Wolld Music Corp.

LIKE SOMEONE IN LOVE(Johnny BwkeJimmy yan Heusen) Burke And Van Heusen, Inc.

NfiY MEI.ANCHOLY BABY(Emie Bwnett-George A. Norton) Shapiro, Bemstein & Co./Jerry Vogel Music Co.

ILL WIND(Harold Arlen-7bd Koei]er) Mills Music, Inc.

IN A MELL(}TIONE(Duke Eilington) Robbins Music Corp

THERE'S NO YOU(Hal Hopper-'Ibm Adai) Barton Music Corp

THE WORLD IS WAITING FOR THE SUNRISE(Em6t Seitz-Cene Lockhart) Chappell & Co. Ltd.

SOMEBODY LOVES ME(Georye Gerehwin-Ballud MacDonald-Buddy Desylva) New World Music Corp.

BLT'ES FOR RENE(Coleman Hawkins) Vrvid Publishing Co,, Inc.All tunes ASCAP

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Fersonnel: Golernan Hau*lns, tenor sanophone; Oscar Petersonnpiano ; Hert Elis, gruitar ; Ray Brwn, bass ; Atrrirl Stolleq drums.Recorded October 16, 1957 at Capitol Studios in Los Angeles.Origrinal session produced by Norman Granz.Origrinal session engrineered by Val Valentin.Original cover photo by Phil Stem.Prepared for Compact Disc by Richard Seidel.Digitaly remastered by Dennis Drale, PolyGram Studios, USA.

Following are Nat Hentffi notes for the original release of this material:

One value judgement on which everybody in jazz agTees is the perennialvitality and imagination of Coleman Hawkins. Now in his mid-fifties, Hawkinscan still take command of any session in which he becomes sufrciently interested.He can still record with the most "modern" players (Thelonious Monk, for oneexample) ; and he is still recognized by fellow musicians as one of their continuingresources. Sonny Rollins, for instance, always lists Bean when asked the tenor saxo-phonists he most admires, and these days so do many modernists even younger thanSonny.

Hawkins' stature has never been in doubt historically since he began - whilewith Fletcher Hendenon in the twenties - to liberate the tenor saxophone andbecome the first major, pervasive influence on that instrument. Jazz fashions beingas mercurial as they are, however, he experienced a relative eclipse in poll-likt:estimation for some years in the forties and even into the early fifties when thcLester Young-dominated school of tenor was predominant. Hawkins' "return" (hchad never, of course, been away) to interviews in the jazz magazines and highcrrungs in the polls was partially set in gear by the rise of such younger, post-coolplayerr as Sonny Rollins who clearly owed him as well as Charlie Parker a basic debt.

Coleman himself has never worried especially about who's been in office nor,

unlikc rolrand p

HsofIAIITrnrsIING ON

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i ly Vrgol Music Co.

:HE SUNRISE

Vorl( l Muslc Oorp.

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Personnel: Goleman Hawkins, tenor sanophone; Oscar Petenor\piano; Hedo Ellis, gruitar; RayBrown, bass; Alvin Stolle4 drums.

Recorded October 16, 1957 at Capitol Studios in Los Angeles.

Origdnal session produced by Norman Granz.Origdnal session engineered by Val Valentin.Original cover photo by Phil Stern.Prepared for Compact Disc by Richard Seidel.Digitaly remastered by Dennis Drake, FolyGram Studios, USA.

Following are Nat Hentffi notes for the original release of this material:

One value judgement on which everybody in jazz agrees is the perennialvitality and imagination of Coleman Hawkins. Now in his mid-fifties, Ilawkinscan still take command of any session in which he becomes suftciently interested.He can still record with the most "modern" players (Thelonious Monk, for oneexample) ; and he is still recognized by fellow musicians as one of their continuingresources. Sonny Rollins, for instance, always lists Bean when asked the tenor saxo-phonists he most admires, and these days so do many modernists even younger thanSonny.

Hawkins' stature has never been in doubt historically since he began - whilewith Pletcher Henderson in the twenties - to liberate the tehor saxophone andbecome the fint major, pervasive influence on that instrument. Jazz fa5[i6ns !6itt*as mercurial as they are, however, he experienced a relative eclipse in poll-likeestimation for some years in the forties and even into the early fifties when theLester Young-dominated school of tenor was predominant. Hawkins' "return" (hehad never, of course, been away) to interviews in the jazz magazines and higherrungs in the polls was partially set in gear by the rise of such younger, post-coolplayers as Sonny Rollins who clearly owed him as well as Charlie Parker a basic debt.

Coleman himself has never worried especially about who's been in office nor,

unlike some of his generation, has he become embittered by the changes in.stylesand popularity. He hired Monh and Dizzy in his bands and on his records duringthat period when "bop" was used as an epithet by most writers and even by manyolder musicians. "It's all a natural way that jaa growsr" he said rcently. "Youcan't stop it. That's the way it is, and you're bound to pick up things younelf ifyou listen."

Hawkins, while always remaining strongly himself, has always been listening.Garvin Bushell, while traveling with Mamie Smith, heard Hawkins in the pit bandof the 12th Street Theatre in Kansas City as early as 1921. "He was ahead ofeverything I ever heard on that instrument. It might have been a C rnelody hewas playing then. He was really advanced. He read everything without missing anote. I haven't heard him miss a note yet in 38 years, And he didn't - as wasthe custom then - play the saxophone like a trumpet or clarinet. He was alsorunning changes then, because he'd studied the piano as a youngster. The onlything he lacked in the early twenties," Bustrell added, "was as strong a sense ofthe blues and the 'soul' the southern players had. He was like a typical midwestmusician of that time in that respect."

Compare, however, his fint recordirigs with Hendenon with those that followedhis growing absorption of the influences brought to New York by players from thesouth and southwest, most notably by Louis Armstrong in his stay with the Hender-son band. By the end of the twenties, Hawkins was supreme on the tenor. Whereverhe traveled, he was looked up to by all the younger players. Jo Jones, explaininga rare time when Coleman Hawkins was bested at a session (in Kansas City byBen Webster, Lester Young and Herschel Evans) points out: "You see, nobody inthose days would walk in and set up with Hawkins, except maybe in New Yorkwhere Chu Berry was just coming up. But most of the time at sessions guys wouldjust be trying to show Hawkins how they had improved since he had last heardthem.tt

Hawkins continued being the arbiter for many young musicians - withoutpublicity - for years. British writer Nevil Skrimshire noted in the Jazz tournal:

"Coleman Hawkins was apparently one of the musicians responsible for OscarPeterson's discovery. Peterson told me that one night at a club in Toronto, Hawkinssat and listened to him all evening without saying a word. When everyone had gone,Hawkins asked him to play a tune. He said, 'I'd like to hear lt's The Talk of theTown but I'd like hearing it in B natural.' As Peterson said to me, he managedthat one and a couple of other teasers and was thus accepted by Hawkins."

Hawkins enjoyed this date. He'd played with the Peterson trio before on the

JATP tours; and with his customary disinclination to go into long verbalizations ofmusic, he said of this session: "It all went down pretty easy. We got several firsttakes that were so good we didn't do any more. 'fhey were all 'heads' and I pickedmost of tJre tunes." The original, Blues f or Rene, is by Hawkins.

This is unfettered Hawkins - no strings, no paper, nothing but his horn andtbtttr. He remains as described by Benny Green, the British musician, in a chapterinThe Dccca Book ol lazz: ".. . He was the first of the jazz saxophone virtuosi,with a technique equal to the task of playing anything his mind could conceive.And his mind could conceive patterns of great ingenuity and beauty. For all theapparent hot-headedness of Hawkins in full cry over a faster tempo or his seemingblind fervor on a ballad, the Hawkins mind behind the Hawkins heart was alwaysperfectly poised, weaving ingenious melodic patterns almost mathematical in tireirprecision and in the inevitability of their resolutions."

Inevitability, the feeling that a solo could not have been othenvise, is onemark of a major improviser. Coleman Hawkins, for one.

-N,rr Hr,Nrorr, Co-Editor, 'f he Jazz Reaieu

Other Verve CDs you will enjoy:Coleman Hawkins Encounters Ben WebsterDuke Ellington AndJohnny Hodges: Back To BackDuke Ellington AndJohnny Hodges: Side By Side

823120-2823 637-2821 578-2

STEREO 825 673-2 FIir

dlffi o.rc..p-o,.",.gn"'^"d'"sy"-HHUJ* Hlrn:l",h"I]fl4:"&l#fu?[{ff ": ; *ruhtaulder Kombinalion von Laser-Abtasbng unddigitalerWiedergabe.Die von der Compacl Disc gebotene Oualilal isl somit unabh6ngig vondem lechnrschen Verlahren, das bei der Aufnahme erngeselzl wurde.Aul der Rockseite der Verpackuhg kennzeichnet ein Code aus dreiBuchstaben die Technik, die bei den drei Stationen Autnahme, Schnin/Abmischung und lJberspielung zufr Eansatz gekommen isl:

lddtl 0rgilales Tonbandgerat ber der Autnahme, ber Schnrn und/oderr Abmischung, ber der Ubefspielung.

[ID-tl Analoges Tonbandgerat ber der Aulnahme; digitales Tonband-! gerat bei Schnrfl und/oder Abmischung und bei der Uberspie-lung.

JIID-I Analoges Tonbandgerat ber cler Aulnahme und bei Schnitl und/L- oder Atmischung: iiigitales Tonbandgerat bei der Uberspielung.oie Compacl Disc sollle mil der gleichen Sorgtalt gelagerl und behan-delt werden wie die konvenlionelle Langspielplaf,e.Eine Reinigung er0brigl s ich, wenn die Compacl 0isc nur am Randean-getaRt und nach dem Abspielen solod wieder in die Spezialverpackungzur0ckgelegl wird. Sollle die Compacl Disc Spuren von Fingerabdrtk-ken. Stauboder Schmltz aulweisen, ist s ie miteinem sauberen. fussel-i reien, weichen undfockenenTuch (geradl inigvon derMinezum Rand)zu reinigen. Bitle keine Ldsungs- oder Scheuerminel verwenden!Bei Beachtung dieser Hinweise wird die Compacl Disc ihre Oualitaldauerhatt bewahren.

Th! Comp.cl t)|& Dlglbl Audlo Sydanoflers lhe best possible sound reproduclion - on a small, convenienlsoond-carier unil.The Compact Disc's superior perlormance is lhe result ol laseroplicalscanning combined with digilal playback, and is independent ol thelechnology used in making lhe original recording.This recording technology is idenlilied on the back cover by a lhree-lenercodel

IDE l D'gital tape recorder used duftng sessron recordrng. mixrng! and/or editing, and masleflng (lranscription).

[IO-tl Analooue tape recorder used dunng sessron recordrng. digial! lape recorder used during subsequenl mixrng and/or edilin9and during masler in9 ( tanscr ipl ion).

IIID-I Analogue tape recorder used during session recording and! subsequenl miting and/or edilingi digital tape recorder usedduring mastering (tanscription).

In storing and handling the Compacl Disc, you should apply the samecare aswith conventaonal records.Noludher cleaning will be necessary il the Compact Disc is always heldbythe edges and is replaced in its casediredlyafler playing. Should lheCompaclOiscbecomesoi ledbyl ingerpr ints.dustordir i , i lcanbewiped(always in a staight line, kom cenke lo edoe) wiih a clean and linLfree,sott, dry clolh. No solvenl or abrasive cleaner should ever be used onthe disc.llyou lollow these sugoestions, the Compact Discwill provide a liletimeol pure lislening enioymenl.

L. lydam Complcl Ol& Dlgltrl Audlopermet la meilleure reproduction sonore possible a padir d'un supportde son de lormat r6duit et oratique.Les remarquables performances du Compad Disc sont le dsultal de lacombinaison unique du syslame numerique et de ia leclure laser opti-que, ind6pendamment des ditl6rentes lechniques appliquees lors deI'enregislrement. Ces techniques sont idenlifi6es au verso de la couvecture par un code a tois lenres:

1666] Ulilisaton d'un magnlophone numerque pendanl les saan-u ces d enregis[emenl, le mixage et/ou le monlage el la gravure.

flttl Uthsaton d un magnelophone analogique pendant les sean-! ces d'enregistement, ulihsalion d'un magnelophone numn.que pendant le mixage et/ou le montage el la gravure.

[IItl Ulihsation d'un magnetophone analogique pendant les sean-! ces d enregistemenl el le mixage el/ou le montage, ulilisatond un magntophone numerique pendanl lagravure.

Pour oblenir les meilleurs r6sullats, il esl indispensable d'appoder lememe soin dans le rangemenl et la manipulalion du Compacl Discou avec le disoue microsillon.ll n'esl pas necessaire d ettectuer de nef,oyage paniculier si le disqueesl loujours lenu par les bords el esl replace dkeclemenl dans sonboilierapres l'coute. Si le Compact Discpodedestaces d'empreintesdigitales, de poussidre ou autres, il peut otre essuy6. toujours en lignedroile, du cente vers les bords, avec un chitfon propre, doux etsecquine s elliloche pas. Tout produit nenoyant, solvanl ou abrasil doit efeproscrit. Si ces instudions soni respectoes, le Compacl oisc vousdon-neG une oadaite et durable restitutaon sonore.

ll .ld.mr rudlo-dlgll.l. d.l Comp.c-t ltlrcofke la migliore ilproduzione del suono su un ficcolo e comodosuppodo.La supeiore qualita del Compact Disc e il risultalo della scansione conl'onica laser, combinata con la riproduzione cligitale ed 0 indipendenledalla lecnica di regisfazione utilizzata in origine.Ouesta tecnica di regislrazione e idenlilicata sul retro della conlezioneda un codice di te lenere:

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Printed in West Germany by/lmprim6 n Allemagno par H. O. Persiehl Made in Wosl Ggrmsny

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