Coleman Hawkins Encounters Ben Webster (2LP, 45RPM, 200g)
Coleman Hawkins Encounters Ben Webster (2LP, 45RPM, 200g)
Coleman Hawkins Encounters Ben Webster (2LP, 45RPM, 200g)
Coleman Hawkins Encounters Ben Webster (2LP, 45RPM, 200g)

Coleman Hawkins Encounters Ben Webster (2LP, 45RPM, 200g)

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Coleman Hawkins, tenor saxophone [click here to see more vinyl featuring Coleman Hawkins]

Ben Webster, tenor saxophone [click here to see more vinyl featuring Ben Webster]

Oscar Peterson, piano [click here to see more vinyl featuring Oscar Peterson]

Ray Brown, bass

Herb Ellis, guitar

Alvin Stoller, drums

Written by Coleman Hawkins (A1), Richard Rodgers and Lorenz Hart (B1), Paul Dupont (B2), Allan Stuart (B2), Cole Porter (C1), Russ Columbo (C2), Clarence Gaskill (C2), Leo Robin (C2), Johnny Mercer, (D1) Victor Schertzinger (D1), Jack Norworth (D2), Nora Bayes (D2)


2 LPs, standard sleeve

Limited Edition

Original analog Master tape : YES

Heavy Press : 200g

Record color : black

Speed : 45RPM

Size : 12''



Record Press :  Quality Record Pressings

Label :  Analogue Productions 

Original Label :  Verve records

Recorded in Hollywood, CA, October 16th 1957

Produced by Norman Granz

Remastered by George Marino at Sterling Sound

Originally released in 1959

Reissued in 2013


Tracks :

Side A:

  1. Blues for Yolande

Side B:

  1. It Never Entered My Mind
  2. Rosita

Side C:

  1. You'd Be So Nice to Come Home To
  2. Prisoner of Love

Side D:

  1. Tangerine
  2. Shine On Harvest Moon


Reviews :

“It's a somewhat rare phenomenon these days for a classic jazz album to be reissued by its copyright ‘owners’. The session in question was long hallowed in this country as Blue Saxophones rather than its original title above – maybe to distinguish the UK release, since it squeezed in an extra tune from the same date that appeared on a different album in the US. But, even without that, the relaxed feel of the session belies what was probably an abbreviated schedule – Norman Granz taped no fewer than 10 albums in the same week, including separate quintets led by Hawkins and Webster – and the results are truly glorious.

At this point, Ben was absolutely on top of his mature style, while Hawk was coming into his own (again!) with a slightly harder edge to his playing, culminating in the almost R&B hoarseness of his third chorus on ‘Blues For Yolande’ (played in D-major, by the way, while the Latin-tinged standard ‘La Rosita’ is in E!) It's worth noting that, apart from intros and a couple of brief piano solos, this is all saxophone, and much more a mutual admiration society than a cutting contest.

I'm not a fan of the early stereo separation of Peterson from the rest of the rhythm-section, but the contrast and the complementariness of the two leaders is what counts. The icing on the cake is Nat Hentoff's original liner-note discourse on the history of the tenor thus far.” Jazzwize Review by Brian Priestley



AllMusic 4/5  ,  Discogs 4.49 / 5

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