Search - Coleman Hawkins :: At Newport Live

Giants of jazz at Newport

Nikica Gilic | Zagreb, Croatia | 10/01/2007

(5 out of 5 stars)

"Those who claim that 1957 was a good year for the Newport are right on the ball:

First of all, many great musicians were in the best of form; check out Basie's reunion with Jimmy Rushing, Lester Young and Jo Jones ( featuring Roy Eldridge and Illinois Jacquet as well) and see for your self - Count Basie at Newport, Count Basie at Newport, Count Basie at Newport .



Also significant - Norman Granz was there with his mikes and other equipment, saving this gem for posterity and future generations (both my parents were still children in 1957!)



Now, to this album.

It is a tad too short - under 40 minutes, including the introduction... But the opening number "I Can't believe that your'e in love with me" is everything it's supposed to be; a true swing/mainstream cornucopia of rhythm, dynamics and emotion, with Coleman Hawkins and Roy Eldridge performing at their hottest level. The rhythm section is driving them ever further : Jo Jones proves himself on drums once again, but others are great as well; no wonder Ray Bryant became a major jazz pianist very soon after this was recorded...



Pete Brown's alto sax performance is somewhat puzzling, but his strange, often staccato style is at times quite interesting, reminding me of Lester Young's lesser efforts in the 50's.



The rest of the album is fine, although not on the same magnificent level, but the opening number may very well be one of the hottest jazz recordings I've heard in years...



However, "Sweet Georgia Brown" is also swinging very hard; it's a pity that the finale of the performance is mostly taken by Jones-Eldridge drumming duet; blowing the horns with Jones' drumming is always a much better option (although to see the drum battle live must have been fun).



A must have for all Hawkins, Eldridge and Jones fans."

Glad I didn't read the inside statement...

Rubén | US | 01/30/2008

(4 out of 5 stars)

"Live recordings can be especially "iffy" with regard to technical quality; I ordered this after seeing AMG's mention of this gig's "remarkable" sound quality. Upon first listen, it was indeed an excellent recording. Imagine my surprise when I read on the inside credits that it was "sourced from disc due to master tape damage." I am glad I didn't know this before, otherwise, I might have passed on this CD. I have not heard any pops/clicks, etc. characteristics of LPs, so I'm guessing it's either from a very clean vinyl source and/or software was used to clean it up, or a master acetate was used. If there's been compression as would be common in LP production, my old ears don't hear it. I am open to corrections/enlightenment re this. The actual performance is excellent on its own merits and I leave others better suited to add their comments on that."