Coleman Hawkins - The Hawk Flies High (1957)

Coleman Hawkins' 1957 session for Riverside, aside from an oral documentary record in a short-lived series, was his only recording for the label under his name. Yet producer Orrin Keepnews had the good sense to invite the legendary tenor saxophonist to pick his own musicians, and Hawkins surprised him by asking for young boppers J.J. Johnson and Idrees Sulieman in addition to the potent rhythm section of Hank Jones, Oscar Pettiford, Barry Galbraith, and Jo Jones. The two days of sessions produced a number of strong performances, with Hawkins still very much at the top of his game, while both Johnson and Sulieman catch fire as well. Even though most of the focus was on new material contributed by the participants, the musicians quickly adapted to the unfamiliar music, especially the leader's old-fashioned swinger "Sancticity" (which sounds like it could have been part of Count Basie's repertoire) and the pianist's tightly woven bop vehicle "Chant." Hawkins was one of the great ballad interpreters, and his majestic performance of the standard "Laura" is no exception. The 2008 reissue in the Keepnews Collection series uncovered no previously unissued material, though expanded liner notes by the producer and improved 24-bit remastering make this edition an improvement over earlier versions.

By Ken Dryden in All Music Guide

Styles:
Mainstream Jazz

Tracks
01 - Chant (05:08)
02 - Juicy Fruit (11:20)
03 - Think Deep (03:27)
04 - Laura (04:36)
05 - Blue Lights (05:47)
06 - Sancticity (09:12)

Line-up:
Coleman Hawkins - tenor sax
Idrees Sulieman - trumpet
JJ Johnson - trombone
Hank Jones - piano
Barry Galbraith - guitar
Oscar Pettiford - bass
Jo Jones - drums.

Sonny Rollins - Freedom Suite (1958)

Tenor saxophonist Sonny Rollins' last Riverside album was reissued on this Original Jazz Classics CD. Jamming in a pianoless trio with bassist Oscar Pettiford and drummer Max Roach, Rollins is very creative, stretching out on his lengthy "Freedom Suite," clearly enjoying investigating the obscure Noel Coward melody "Someday I'll Find You," turning the show tune "Till There Was You" into jazz, and finding beauty in "Shadow Waltz" and "Will You Still Be Mine?" A near masterpiece.

by Scott Yanow in All Music Guide

Styles:
Bop
Hard-Bop

Tracks:
01 - The Freedom Suite (19:17)
02 - Someday I'll Find You (4:35)
03 - Will You Still Be Mine? (2:54)
04 - Till There Was You (4:54)
05 - Till There Was You (4:55)
06 - Shadow Waltz (4:08)

Line-up:
Sonny Rollins – tenor saxophone
Oscar Pettiford - bass
Max Roach - drums

Thelonious Monk - Brilliant Corners (1957)

Although Brilliant Corners is Thelonious Monk's third disc for Riverside, it's the first on the label to weigh in with such heavy original material. Enthusiasts who become jaded to the idiosyncratic nature of Monk's playing or his practically arithmetical chord progressions should occasionally revisit Brilliant Corners. There is an inescapable freshness and vitality saturated into every measure of every song. The passage of time makes it all the more difficult to imagine any other musicians bearing the capacity to support Monk with such ironic precision. The assembled quartet for the lion's share of the sessions included Max Roach (percussion), Sonny Rollins (tenor sax), Oscar Pettiford (bass), and Ernie Henry (alto sax). Although a compromise, the selection of Miles Davis' bassist, Paul Chambers, and Clark Terry (trumpet) on "Bemsha Swing" reveals what might be considered an accident of ecstasy, as they provide a timeless balance between support and being able to further the cause musically. Likewise, Roach's timpani interjections supply an off-balanced sonic surrealism while progressing the rhythm in and out of the holes provided by Monk's jackrabbit leads. It's easy to write Monk's ferocity and Forrest Gump-esque ingenuity off as gimmick or quirkiness. What cannot be dismissed is Monk's ability to translate emotions into the language of music, as in the freedom and abandon he allows through Sonny Rollins' and Max Roach's mesmerizing solos in "Brilliant Corners." The childlike innocence evoked by Monk's incorporation of the celeste during the achingly beautiful ode "Pannonica" raises the emotional bar several degrees. Perhaps more pointed, however, is the impassioned "I Surrender, Dear" -- the only solo performance on the album. Brilliant Corners may well be considered the alpha and omega of post-World War II American jazz. No serious jazz collection should be without it.

by Lindsay Planer in All Music Guide

Styles:
Hard Bop
Bop

Tracks:
01 - Brilliant Corners (7:42)
02 - Ba-lue Bolivar Ba-lues-are (13:24)
03 - Pannonica (8:50)
04 - I Surrender Dear (5:25)
05 - Bemsha Swing (7:42)

Line-up:
Thelonious Monk - piano; celeste
Ernie Henry - alto saxophone
Sonny Rollins - tenor saxophone
Oscar Pettiford - double bass
Max Roach - drums; timpani
Clark Terry - trumpet
Paul Chambers - double bass