egroj world: Coleman Hawkins • Desafinado

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Friday, March 19, 2021

Coleman Hawkins • Desafinado



Review by Michael G. Nastos
That Coleman Hawkins jumped on the jazz/bossa nova bandwagon craze initiated by Stan Getz in 1962 was a bit of a surprise to his fans, but that he was comfortable in the idiom should not be off-putting. Able to adapt to any style over his lengthy career, the legendary tenor saxophonist chose classic standards adapted to Brazilian rhythms, music from masters like Antonio Carlos Jobim and João Gilberto, and a Manny Albam original. Producer Bob Thiele and music director Albam were strong in their resolve directing Hawkins to do this project, and the results are fairly predictable, especially considering that every single track is played in midtempo. The difference is the deployment of two guitarists in Barry Galbraith (lead) and Howard Collins (rhythm) split into separate stereo channels, with bassist Major Holley and no full kit drummer, although Eddie Locke with a minimal and stripped-down setup, Willie Rodriguez, and even Tommy Flanagan play small Latin percussion instruments. Themes derived from nights in Rio such as the beautifully rendered title track and "One Note Samba" are quite typical, but "O Pato" (The Duck) has a component added on from Duke Ellington's "Take the 'A' Train," while the Hawkins original "Stumpy" is adapted into "Stumpy Bossa Nova," derived from Dizzy Gillespie's "Groovin' High" with a taste of "The Man I Love" tacked on at the end. Albam's "Samba Para Bean" is standardized cool with Locke's accents via brushes on closed hi-hat cymbals, while "I Remember You" is a completely unforced, pretty rendition of this well-worn standard. Gilberto's tribute to Luiz Bonfá, "Um Abraco No Bonfa," sports a guitar lead by Galbraith in a stretched-out frame. The curve ball is a somewhat weird crossbred samba take of "I'm Looking Over a Four Leaf Clover," a truly corny song the band tried to make cool, only marginally succeeding. The simplified style of this album overall perfectly suited the amiable, good-natured, and laid-back Hawkins at a time when the world was somewhat in political turmoil regarding Caribbean nations and the role of South America in the emerging so-called Third World. He passed away seven years later, leaving a legacy as the most revered tenor saxophonist in jazz, and this very nice recording in his long discography, unique even unto itself.
 
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Reseña de Michael G. Nastos
Que Coleman Hawkins se subiera a la moda del jazz/bossa nova iniciada por Stan Getz en 1962 fue una pequeña sorpresa para sus fans, pero que se sintiera cómodo en el idioma no debería ser un inconveniente. Capaz de adaptarse a cualquier estilo a lo largo de su dilatada carrera, el legendario saxofonista tenor eligió estándares clásicos adaptados a los ritmos brasileños, música de maestros como Antonio Carlos Jobim y João Gilberto, y un original de Manny Albam. El productor Bob Thiele y el director musical Albam se mostraron firmes en su decisión de dirigir a Hawkins para realizar este proyecto, y los resultados son bastante predecibles, sobre todo si se tiene en cuenta que todos los temas se tocan a medio tempo. La diferencia es el despliegue de dos guitarristas en Barry Galbraith (principal) y Howard Collins (rítmico) divididos en canales estéreo separados, con el bajista Major Holley y sin batería completa, aunque Eddie Locke con una configuración mínima y despojada, Willie Rodríguez, e incluso Tommy Flanagan tocan pequeños instrumentos de percusión latina. Los temas derivados de las noches en Río, como el bonito tema del título y "One Note Samba", son bastante típicos, pero "O Pato" tiene un componente añadido de "Take the 'A' Train" de Duke Ellington, mientras que el original de Hawkins "Stumpy" se adapta a "Stumpy Bossa Nova", derivado de "Groovin' High" de Dizzy Gillespie con un toque de "The Man I Love" añadido al final. La "Samba Para Bean" de Albam se estandariza con los acentos de Locke a través de las escobillas en los platillos cerrados del hi-hat, mientras que "I Remember You" es una interpretación completamente no forzada y bonita de este estándar tan trillado. El homenaje de Gilberto a Luiz Bonfá, "Um Abraco No Bonfa", cuenta con una guitarra principal de Galbraith en un marco alargado. La bola curva es una toma de samba mestiza un tanto extraña de "I'm Looking Over a Four Leaf Clover", una canción realmente cursi que la banda intentó hacer cool, consiguiéndolo sólo marginalmente. El estilo simplificado de este álbum encajaba perfectamente con el afable, bondadoso y relajado Hawkins en un momento en el que el mundo estaba algo revuelto políticamente con respecto a las naciones caribeñas y el papel de Sudamérica en el emergente llamado Tercer Mundo. Falleció siete años después, dejando un legado como el saxofonista tenor más venerado del jazz, y esta grabación tan bonita en su larga discografía, única incluso en sí misma.


Tracklist:
A1 - Desafinado - 5:46
A2 - I'm Looking Over A Four Leaf Clover (Jazz Samba) - 2:50
A3 - Samba Para Bean - 5:25
A4 - I Remember You - 4:05
B1 - One Note Samba = Samba De Uma Nota So - 6:02
B2 - O Pato = The Duck - 4:08
B3 - Um Abraco No Bonfa = An Embrace To Bonfa - 4:49
B4 - Stumpy Bossa Nova - 2:32

Credits:
Bass – Major Holley
Ensemble – The Coleman Hawkins Sextet
Guitar – Barry Galbraith, Howard Collins
Percussion – Eddie Locke, Tommy Flanagan, Willie Rodriguez
Tenor Saxophone – Coleman Hawkins

Rudy Van Gelder Studio, Englewood Cliffs, NJ, September 12 + 17, 1962
Engineer – Rudy Van Gelder

Released: 1963
Genre: Jazz
Style: Bossa Nova









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6 comments:

  1. Hi Egroj, maybe you could be the right person ..... a long time ago, before the internet, I listened to a record on an Italian radio that featured an Argentine tango orchestra and a Brazilian samba orchestra playing together, with original results. .. despite my efforts I have never been able to find a trace of this LP .... do you know anything about it?

    ReplyDelete
    Replies
    1. Hi, what you say sounds interesting, but you don't indicate in what era it could have been, I really don't remember something like that, tango was heard and even played in Brazil in times before bossa nova, that is to say at the same time as samba.
      Maybe if you provide some more information the mystery can be solved.
      ;)

      Delete
  2. Hi, unfortunately I don't have any additional information, except that I think it was the 90s, and the record was probably contemporary, but I'm not sure about anything ... maybe I'll try to dig up some rateyourmusic list .... like tango / fusion , samba / fusion ...

    ReplyDelete
    Replies
    1. I have searched on Discogs, but I have found something like this, maybe it is not 2 orchestras playing together but doing fusion. Anyway, I'll keep an eye out for it.
      ;)

      Delete
  3. Hi!

    Thanx for this one. Should be a fun, "soothing" listen.

    Cheers!
    Ciao! For now.
    rntcj

    ReplyDelete