Hampton Hawes Trio

chronology
Hampton Hawes Trio
Hampton Hawes studio album
Publication ; (s)	1955
admission	June 28, 1955
Label (s)	Contemporary
Genre (s)	jazz
Title (number)	10
running time	41:07
occupation	Hampton Hawes - piano; Red Mitchell - double bass (Tracks 1–3 & 5–10); Chuck Thompson - drums (Tracks 1–3 & 5–10);
production	Lester Koenig
Location (s)	Los Angeles Police Academy, Chavez Ravine, Los Angeles

source	rating
Allmusic
The Rolling Stone Jazz Record Guide

Hampton Hawes Trio (subtitle Vol.1) is the first album by the pianist Hampton Hawes , which was recorded on the Contemporary label (LP C 3505) and published in 1955 .

History of origin

The recording took place on June 28, 1955 in the Contemporary Studios in Los Angeles. Hawes had just been discharged from the army and had made a name for himself in the West Coast jazz scene . 1956 followed by two more albums with the same trio line-up on Contemporary ( This Is Hampton Hawes, Vol. 2 and Everybody Likes Hampton Hawes, Vol. 3 ). The liner notes were written by the label's founder, Lester Koenig .

In the liner notes , Hawes describes the influence that Charlie Parker had on him: It was Bird's conception ... that influenced me the most and showed me how important metrics and time are in jazz to create swing . That was a foundation. I started experimenting, taking liberties in tempo, or dropping some beats to emphasize the beat instead of following it all the time.

reception

The album was successful, if not as successful, as Hawes's All Night Session quartet recordings the following 1956 with Jim Hall .

Scott Yanow writes about the album for Allmusic: "In addition to three of his basic originals, Hawes performs fresh and swinging versions of seven standards, using such frequently played melodies as I Got Rhythm , What Is This Thing Called Love? And All the Things You Are Really come to life. A gem, the first of many classic Hawes recordings for Contemporary ".

Richard Cook and Brian Morton found the first two trio recordings from 1955/56 extraordinarily impressive, even after the large time lag , combining long, demanding passages of interlaced chords and fast, unpredictable melody lines. The bebop influence is still clearly noticeable, but Hawes already demonstrates an ability to construct elaborate out-of-tempo solo statements that seem to deviate from the topic, but still draw completely from its chord structure . Most of the pieces are known bop standards, but the blues lines of Hawes on Vol. 1 are by far the most interesting pieces on the first two trio albums, of a skeleton-like structure, but worked out with a sure hand . The companions Mitchell and Thompson are also praised and the two albums are recommended for every record collector as well as the following third trio album and the All Night Session .

Track list

All compositions are by Hampton Hawes, except for the titles with authors in brackets.

I Got Rhythm ( George Gershwin , Ira Gershwin ) - 3:19
What Is This Thing Called Love? ( Cole Porter ) - 4:46
Blues the Most - 5:45
So in Love (Porter) - 3:58
Feelin 'Fine - 3:04
Hamp's Blues - 3:42
Easy Living ( Ralph Rainger , Leo Robin ) - 4:50
All the Things You Are ( Jerome Kern , Oscar Hammerstein II ) - 4:59
These Foolish Things ( Holt Marvell , Harry Link , Jack Strachey ) - 4:50
Carioca ( Vincent Youmans , Edward Eliscu , Gus Kahn ) - 2:24

Web links

Individual evidence

↑ ^a ^b Hampton Hawes Trio, Vol. 1 - Hampton Hawes, Hampton Hawes Trio | Songs, Reviews, Credits | AllMusic. Retrieved June 16, 2018 .
↑ Swenson, John: The Rolling Stone Jazz Record Guide . 1st ed. Rolling Stone, New York 1985, ISBN 0-394-72643-X , pp. 97 .
Jump up ↑ Jazz Discography Project: Hampton Hawes Discography. Retrieved June 15, 2018 (American English).
^ Quoted in Marshall Stearns , The Story of Jazz, Oxford UP, 1956, p. 228. It was Bird's conception. . . that influenced me most and made me realize how important meter and time is in jazz to make it swing. It was a foundation. I began experimenting, taking liberties with time, or letting a couple of beats go by to make the beat stand out, not just play on top of it all the time.
↑ Hampton Hawes , from: Colin Larkin , Encyclopedia of Popular Music
^ Cook, Morton, The Penguin Guide to Jazz. London 2010. .. hugely impressive, combining long, demanding passages of locked chording and fast, unpredictable melody lines. The bebop idiom is still firmly in place, but already Hawes is demonstrating an ability to construct elaborate out-of-tempo solo statements which seem detached from the theme while still drawn entirely from its chord structure.
↑ Cook, Morton: Most of the pieces are familiar bop staples, but Hawes's blues lines on the first volume are by far the most interesting pieces, skeletal in structure but elaborated with a sure hand.

[AM-1] Hampton Hawes Trio, Vol. 1 - Hampton Hawes, Hampton Hawes Trio | Songs, Reviews, Credits | AllMusic. Retrieved June 16, 2018 .

[2] Swenson, John: The Rolling Stone Jazz Record Guide . 1st ed. Rolling Stone, New York 1985, ISBN 0-394-72643-X , pp. 97 .

[3] Jump up ↑ Jazz Discography Project: Hampton Hawes Discography. Retrieved June 15, 2018 (American English).

[4] Quoted in Marshall Stearns , The Story of Jazz, Oxford UP, 1956, p. 228. It was Bird's conception. . . that influenced me most and made me realize how important meter and time is in jazz to make it swing. It was a foundation. I began experimenting, taking liberties with time, or letting a couple of beats go by to make the beat stand out, not just play on top of it all the time.

[5] Hampton Hawes , from: Colin Larkin , Encyclopedia of Popular Music

[6] Cook, Morton, The Penguin Guide to Jazz. London 2010. .. hugely impressive, combining long, demanding passages of locked chording and fast, unpredictable melody lines. The bebop idiom is still firmly in place, but already Hawes is demonstrating an ability to construct elaborate out-of-tempo solo statements which seem detached from the theme while still drawn entirely from its chord structure.

[7] Cook, Morton: Most of the pieces are familiar bop staples, but Hawes's blues lines on the first volume are by far the most interesting pieces, skeletal in structure but elaborated with a sure hand.