Hampton Hawes

Hampton Hawes - This Is Hampton Hawes

Hampton Hawes This Is Hampton Hawes (Contemporary 1956)

- Francois Leave a comment

This, indeed, is Hampton Hawes. The coolest smokin’ cover. Immaculate, intense bebop. The pianist in full flight, a few years before the life of the addicted Hawes would take a tragic turn.

Hampton Hawes - This Is Hampton Hawes

Personnel

Hampton Hawes (piano), Red Mitchell (bass), Chuck Thompson (drums)

Recorded

on December 3, 1955 and January 25, 1956 at Contemporary Studio, Los Angeles and June 28, 1955 at Los Angeles Police Academy, Chavez Ravine

Released

as C3515 in 1956

Track listing

Side A:
You And The Night And The Music
Stella By Starlight
Blues For Jacque
Yesterdays
Side B:
Steeplechase
Round About Midnight
Just Squeeze Me
Autumn In New York


Now here’s a pianist that warrants more copy than is usually dedicated to him. On par with likeminded players from the generation that followed Bud Powell, Hampton’s jail sentence from 1959 to 1963 was an obstacle to the road to recognition. The vintage years of hard bop went by him, by and large. To name a few, Sonny Clark burnt bright, didn’t fade away, becoming one of the legends of jazz music after he tragically overdosed. Horace Silver set the vintage years in motion, delivering one catchy, clever tune after another. Red Garland’s claim to fame involved his stint with the First Great Miles Davis Quintet.

That is not to say that the playing of Hawes hasn’t find its way to jazz fans around the globe and to many contemporary musicians somehow. Neo-boppers, as expected. On the other side of the spectrum, there are fans like Matthew Shipp. And Ethan Iverson. Here’s what the eclectic pianist with the unwavering curiosity in and broad knowledge of the tradition and anything musically challenging has to say about Hawes: ‘Even though Hampton Hawes had a strong and urgent touch, there was always air around his lines. He seemed to breathe his bluesy bebop into the piano. Along with many others, Hawes took Bud Powell and Charlie Parker and blended it with the pastel colors found in California, although Hawes’ unpretentious virtuosity and perfect jazz beat stood out among his West Coast brethren.’

It is also not to say that Hawes isn’t, on some level, ‘famous’. Or, was. On the contrary. Hawes was born in Los Angeles in 1920 to a father that was a minister and a mother that was a church pianist of the Presbyterian Church. Like so many beboppers, he was seriously addicted to heroin. In 1958, undercover Feds arrested Hawes, white supremacy everywhere, the jazz musician a ‘degenerate evil to society’, who refused to snitch on fellow users and dealers. Hawes got an unbelievable 10-year sentence. In between his trial and sentence, the pianist recorded The Sermon, a telling reflection of the man’s fear, desperation, and what seemed idle hope of better days. Regardless, during his third year in jail, seeing the new President in office, the good looking, emphatic John F. Kennedy, Hawes decided to request for a pardon. Lo and behold, as one of very few, a mere 43 that year, he was released by JFK in 1963.

Mr. Hawes subsequently reaped what he sowed, playing to admiring crowds in Europe and Asia, deepening his modern jazz conception on, for instance, superb Enja albums, and delving into electronic (Fender Rhodes) playing in the process. His biography Raise Up Off Me, published in 1974, is classic jazz literature, perhaps best likened to Art Pepper’s Straight Life. Hawes passed away untimely in 1977.

Hawes’ series of Contemporary albums in the mid-and late fifties are among the period’s finest bop and hard bop releases, not least the All Night Session Volume 1-3 live LP’s. Hawes began the series in 1955 with his debut The Trio Volume 1. His second album This Is Hampton Hawes, recorded in December 1955 and January 1956, is subtitled The Trio Volume 2. Same trio – Hawes, bassist Red Mitchell, drummer Chuck Thompson – same procedures: a remarkably fresh, original take on standards, ballads, blues and a few self-penned compositions. The latter’s list consists of You And The Night And The Music, Stella By Starlight, Yesterdays, Autumn In New York, Monk’s Round About Midnight, Parker’s Steeplechase, Duke Ellington’s Just Squeeze Me and the Hawes composition, Blues For Jacque.

Like the masters of bop, Charlie Parker and Bud Powell, often Hawes is pure energy, dashing off streams of notes that dart this way, that way, seldom ending up in a rot, instead tied together in bundles that reveal the quickest harmonic mind. Long, spirited sentences. Immaculate pace. The gospel, so prevalent in his youth, is definitely under the surface of a style that is carried out with a decisive touch, the touch of a carpenter with a passion for the craft. Bits of bebop’s mid-and post-war angst, the cultish, dedicated stress on beauty and sophistication as the antidote to the black man’s struggle still shining through. But never, like the less talented players, panicky. As Iverson says: air. In a sense, Hawes might be called one of few players who played the Bud Powell stuff that, because of his mental problems, Bud Powell himself wasn’t able to anymore in the post bop era.

The piano as a horn. Hawes blows, his refreshing breeze and gusty winds are still fresh after all these years.

Curtis Fuller and Hampton Hawes

Curtis Fuller And Hampton Hawes With French Horns (Status 1964)

- Francois Leave a comment

Credited to trombonist Curtis Fuller and pianist Hampton Hawes, With French Horns really hasn’t a definite leader. It shouldn’t bother anyone. In fact, the French horn pioneers Julius Watkins and David Amram play an important and equally fulfilling role as Fuller, Hawes and altoist Sahib Shihab, not only delivering first-rate solo’s but also adding a unique texture to the group’s harmony.

Curtis Fuller and Hampton Hawes

Personnel

Curtis Fuller (trombone), Sahib Shihab (alto saxophone), Julius Watkins (French horn), David Amram (French horn), Hampton Hawes (piano A1-3, B2, B3), Teddy Charles (piano B1), Addison Farmer (bass), Jerry Segal (drums)

Recorded

on May 18, 1957 at Van Gelder Studio, Hackensack, New Jersey

Released

as ST 8305 in 1964

Track listing

Side A:
Ronnie’s Tune
Roc And Troll
A-Drift
Side B:
Lyriste
Five Spot
No Crooks


If something like it exists, the session is a ‘prepared’ blowing session, the result of a studio afternoon of relaxed but carefully crafted, intelligent and bluesy playing. (Teddy Charles’s Lyriste is the elegiac, moody exception on the rule) It was recorded as part of the 1957 16inch record Baritones And French Horns, which credited Watkins and Amram as leaders, but was re-released in 1964 by Status, a subsidiary label of Prestige. By then, Fuller and Hawes were better known than Watkins and Amram, which, marketing-wise, explains their co-leadership on this album. (The A-side consisted of a Pepper Adams date including John Coltrane. It was reissued, for obvious but not necessarily honorable reasons, under Coltrane’s name as Dakar in 1963)

All members contribute equally concise statements. Bookended by tasteful, sometimes witty themes, they craft fine-tuned vignettes, remarkably devoid of clichés. Amram’s Five Spot is the most frivolous theme, sure to engender a smile from any kid in the crib, yet very intricate under the surface; a total of a suave, langurous blues line, interpersed with clever, descending and quirky, multi-note alto lines and short-note, claxon-type figures divided between all horns. Even drummer Jerry Segal joins the harmonic party with a snappy snare roll contribution. A question and answer extravaganza which Amram wrote as the outro-theme for a gig he’d had at the legendary Five Spot Café at 5 Cooper Square in the Bowery, NYC.

There are wonderful Sahib Shihab moments, like the elegantly constructed story in Ronnie’s Tune. Shihab, a Parker-influenced player with a distinctive, slight vibrato and alluring, sing-songy lines, also proves to be a master of the entrance; the wail that slowly rises in volume in Ronnie’s Tune and the forward and backward flips of Five Spot are delightful. Hampton Hawes contributes a flawless blend of sparse, well-placed blue notes and interval-filled, fluent bop runs.

From the trombonists that emerged in the slipstream of modern jazz trombone pioneer J.J. Johnson, Curtis Fuller was one of the major talents in 1957 and already a very sought-after player. He would appear on Coltrane’s instant classic Blue Train a few months later, on September 15. Fuller’s swift double-timing on both Roc & Troll and Five Spot is one aspect of his indisputable craftsmanship.

Watkins is the relatively more outgoing player who delights in edgy little bursts of pleasure; Amram a more cerebral hornist who favors the middle register. Considering the difficulty in adapting French horn to jazz surroundings, both men play exceptionally fluid French horn. Watkins was much in demand, appearing regularly on a variety of labels, notably on Thelonious Monk’s 1954 Prestige recording Thelonious Monk & Sonny Rollins. Watkins’ debut as a leader on Blue Note in 1955, The Julius Watkins Sextet, is an immaculate cooperation with Art Blakey, Kenny Clarke, Frank Foster and Hank Mobley. Honestly, I’m less enamoured of The Jazz Modes, the Watkins/Charlie Rouse outfit which recorded for Dawn and Atlantic from 1956 to ’59, which has always sounded too formal to me. David Amram recorded with Kenny Dorham as early as 1953, among others, and developed into a more classical-oriented composer in the early sixties. Composing and conducting has been his much admired trade ever since.

The soft-hued, silky yet husky sound, occasionally sweet-sour as if flavoured with drops of citrus and a tad of cane sugar, is a great asset of Curtis Fuller And Hampton Hawes With French Horns. An intriguing date which deserves wider attention.