NET Festival; 77; In Memorium: Coleman Hawkins

Oh You Ladies and gentlemen, Mr. Dan Morgan's turn editor of Downbeat magazine.

The program you are about to see is a tribute to the memory of Coleman Hawkins, one of the greatest artists in the annals of the music we call jazz, who died at the age of 64, in New York City on May 19. You will see and hear from some of Coleman Hawkins's closest friends and musical associates, and you will also see and hear Coleman Hawkins himself in a show which he taped here in Chicago on April 19. His last recorded performance, but first a few words about the career of this remarkable man. Coleman Hawkins was one of the greatest musicians of our time. Born in 1944 in St. Joseph, Missouri, he started piano lessons at five, took up cello at seven, and got his first saxophone at nine. He played his first professional job at 15 and quit college a few years later

to go on the road with singer Mamie Smith and her jazz house. He made his recording debut with Mamie in 1923, the year he hit New York and joined Fletcher Henderson's band. At 19, he already could play more saxophone than almost anyone else, and when Louis Armstrong joined Anders in the year later, Young Hawkins really became in the spotard. By the end of the 20s, he had almost single-handedly changed the saxophone from a novelty to a serious musical instrument, and had become the idol of every aspiring saxophonist, and the undisputed star of Henderson's band, then the greatest in jazz. In 1934, he left Anderson to go to Europe, where he stayed for the next five years, spreading the jazz gospel and perfecting his art. When he returned home, there were pretenders to his crown, but he disposed of them all with his recording of Buddy and Soul,

which became one of the most famous jazz discs ever made. Hawkins had his own big band for a while, and it was a good one, but he preferred the greater freedom of small groups. When the Bebop Revolution began, Hawkins, unlike most others of his generation, took the young radicals under his wing, giving them jobs and record dates, and assimilating their innovations. Dizzy Gillespie, Thelonious Monk, Milt Jackson, and Miles Davis, were among his proteashers. Throughout the 50s and the 60s, he traveled all over the world, playing his golden horn at countless festivals and concerts, in clubs and on records. He became a legend, revered by the young musicians, who were amazed and delighted at his ability to remain receptive to the discoveries. Loved by his contemporaries,

who were equally astounded at his ability to constantly renew himself, his artistry transcended all boundaries of style and fashion. Only during his very last years, did failing health sometimes leave its markings playing, but even then, he was capable of remarkable things, his sound alone a thing of beauty. His memory will live as long as there are people who care about music. The friends of Coleman Hawkins who are gathered here tonight are Roy Eldridge, the great trumpeter who was inspired by Hawkins a youngster,

and later became one of his most frequent musical associates and friends. pianist Barry Harris, who worked with Coleman throughout the later years of his life, and became one of his closest people. Franz Jackson, who played buddy and soul so beautifully behind us just now, and who like so many other tenor saxophonist was deeply influenced by Hawkins. And bassist truck parm and drummer Bob Cousins, who were with him on what was to be his last appearance. Later, we'll talk about Coleman Hawkins with his friends, but right now, we're going to hear them play, one of Coleman Hawkins' best-known jazz originals, a piece written in 1944 and called Stuffy. play.

play. play. play. play. What you are about to see is Coleman Hawkins' last stand. He came to Chicago on April 19 to tape the show, arriving shortly before noon. Really he was not feeling well, yet he was fiercely determined to do his job. He was the determination of a great professional who had been playing his horn for more

than 50 years, no matter what the circumstances. None of us who were present that day know where he found the strength, but find that he did. The show was originally planned as a half-hour program, the pilot for a series produced for the Corporation for Public Broadcasting, but it will now be shown in its entirety without cuts. The following program has been produced with the assistance of the Corporation for Public Broadcasting. The man laying down that beat is Chicago and Bob Cousins. So much in demand that we're lucky to have him with us, but he didn't want to miss this party. Our base man is also from Chicago, truck parm, the rock of Gibraltar in any rhythm section. That's very Harris from Detroit, one of the greatest modern jazz pianists.

That's a horn you can't mistake, Roy David Eldridge, little jazzed to his fans, back for a visit to the town where he first stood the jazz world on its ear many years ago with truck parm and his band. And that's the voice of a fighter of the tenor saxophone, who put the instrument on the jazz map more than 40 years ago, and he is still showing them how, Coleman Hawkins, Roy Eldridge, and just jazz. Thank you! I'd like to thank you very much.

That was the tune. That was the tune. The title, Being the Du Bois, which is one of Coleman Hawkins's original tunes. How about a nice round of applause for my man, Tony? Now we have another original that we like to play. And the title of this tune is 5400 North. I know what it means, but we find out the mix. I'm going to be Du Bois. I'm going to play with the music.

I'm going to play with the music. I'm going to play with the music. I'm going to play with the music. I'm going to play with the music. I'm going to play with the music.

I'm going to play with the music. I'm going to play with the music. I'm going to play with the music.

I'm going to play with the music. I'm going to play with the music. I'm going to play with the music.

I'm going to play with the music. I'm going to play with the music. I'm going to play with the music.

Thank you so much. Thank you. Thank you.

Thank you. Thank you. Thank you.

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Thank you. Thank you.