Coleman Hawkins: And Confrères - 2x LP 200g 45rpm Vinyl Ben Webster had long before passed through the ranks of imitator, then pupil and finally master. His 'college attendance', as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learned to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton. 'Hawk' was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the "Confrères" LP. The relaxed atmosphere is particularly noticeable in the title "Sunday" in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier's marvelous bass playing (in "Nabab!") where he certainly has no reason to hide in the shadow thrown by Ray Brown. Coleman Hawkins' voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard after Roy's solo in "Honey Flower". Das Stadium eines Imitators, Schülers und Diplomanden hatte Ben Webster längst hinter sich gelassen. Sein 'Studium', wenn man so will, im Duke Ellington Orchestra hatte ihm große Sicherheit des Ausdrucks in seinen Paradestücken verliehen und er hatte sich zu behaupten gelernt gegen musikalische Giganten wie z.B. Paul Gonsalves und Jimmy Hamilton. Der 'Hawk' wiederum konnte seinen Ruhm bei zahllosen Jazz-At-The-Philharmonic-Konzerten auf der ganzen Welt ausgiebig genießen, wo er sich selbstverständlich gegen viele andere Saxophonisten durchsetzen musste. Zwei derartige JATP-Ensembles finden sich auf der "Confrères"-LP. Die entspannte Atmosphäre ist besonders spürbar bei dem Titel "Sunday", in dem Roy Eldridge mit einem brillanten Solo ins Rampenlicht tritt. Und man höre nur George Buviviers wunderbares Bassspiel (in "Nabab!"), wo er gewiss keinen Grund hat, sich in Ray Browns Schatten zu verstecken. Coleman Hawkins' üppiger, weicher Klang, der einen großen Einfluss auf den Stil von Musikern von Dexter Gordon und Sonny Rollins bis zu Joe Lovano hatte, ist am schönsten zu hören nach Roys Solo in "Honey Flower". Coleman Hawkins: And Confrères - 2x LP 200g 45rpm Vinyl

Ben Webster had long before passed through the ranks of imitator, then pupil and finally master. His 'college attendance', as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learned to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton. 'Hawk' was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the "Confrères" LP. The relaxed atmosphere is particularly noticeable in the title "Sunday" in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier's marvelous bass playing (in "Nabab!") where he certainly has no reason to hide in the shadow thrown by Ray Brown. Coleman Hawkins' voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard after Roy's solo in "Honey Flower".

Das Stadium eines Imitators, Schülers und Diplomanden hatte Ben Webster längst hinter sich gelassen. Sein 'Studium', wenn man so will, im Duke Ellington Orchestra hatte ihm große Sicherheit des Ausdrucks in seinen Paradestücken verliehen und er hatte sich zu behaupten gelernt gegen musikalische Giganten wie z.B. Paul Gonsalves und Jimmy Hamilton. Der 'Hawk' wiederum konnte seinen Ruhm bei zahllosen Jazz-At-The-Philharmonic-Konzerten auf der ganzen Welt ausgiebig genießen, wo er sich selbstverständlich gegen viele andere Saxophonisten durchsetzen musste. Zwei derartige JATP-Ensembles finden sich auf der "Confrères"-LP. Die entspannte Atmosphäre ist besonders spürbar bei dem Titel "Sunday", in dem Roy Eldridge mit einem brillanten Solo ins Rampenlicht tritt. Und man höre nur George Buviviers wunderbares Bassspiel (in "Nabab!"), wo er gewiss keinen Grund hat, sich in Ray Browns Schatten zu verstecken. Coleman Hawkins' üppiger, weicher Klang, der einen großen Einfluss auf den Stil von Musikern von Dexter Gordon und Sonny Rollins bis zu Joe Lovano hatte, ist am schönsten zu hören nach Roys Solo in "Honey Flower".

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