HAMPTON HAWES - The Trio (The Complete Albums)
Phono 870335 (2 CDs)
Hampton Hawes Trio (Contemporary C3505)
This is Hampton Hawes Trio Volume 2 (Contemporary C3515)
Everybody Likes Hampton Hawes Trio Volume 3 (Contemporary C3523)
Hampton Hawes (piano); Red Mitchell (bass); Chuck Thompson (drums)
There are six bonus tricks recorded by the trio in 1955 with either Mel Lewis or Shelly Manne replacing Thompson.
Recorded 28th June 1955, 3rd December 1955, 25th January 1956.
There is a story that Hampton Hawes and Sonny Criss encountered Charlie Parker on Parker’s notorious trip to the West Coast. They listened to the great saxophonist, learned from him and hung out with him. Hawes and Criss were just kids. The music they heard changed their lives and to a certain extent set them a challenge that they worked on for the rest of their lives.
The challenge for Hawes was how to translate the innovations from Parker to the piano. He was also influenced by Bud Powell and, of course, Tatum. An apocryphal story relates that Hawes encountered Tatum who said to the younger man: ‘You hot!’
He was hot. The albums here are early Hawes. At this point he was happiest at a high tempo. ‘Hamp’s Blues’ show his unfurling, long, unpredictable improvisations and his locked hands. You can hear his ability to build in slight dissonances without inhibiting the flow of his ideas. Contrast that with the rather wooden arrangement of ‘Autumn in New York’. ‘All The Things You Are’ springs into life when he increases the tempo. ‘Steeplechase’ is a highlight and pure Hawes. The energy and electricity that he injects into the piece is impressive. There are similar delights across the three albums.
Red Mitchell was an innovative bass player who had an individual way of plucking the strings to gain resonance and increased sound. The power of the bassist shines through particularly on ‘These Foolish Things’. Chuck Thompson was the kind of drummer adept with brushes who was content to accompany. His work on ‘Steeplechase’ is a highlight as he drives Hawes.
One of the features of Contemporary records was that most of their sessions were recorded by Roy Du Nann. It is only in recent years that the quality of Du Nann’s recordings has been recognised. The work of Rudy Van Gelder for Blue Note has been lauded even though it has been noted that he did not record pianos particularly well. Du Nann’s work now is prized by audiophiles. He recorded the second and third of the three albums here.
Reviewed by Jack Kenny
Phono 870335 (2 CDs)
Hampton Hawes Trio (Contemporary C3505)
This is Hampton Hawes Trio Volume 2 (Contemporary C3515)
Everybody Likes Hampton Hawes Trio Volume 3 (Contemporary C3523)
Hampton Hawes (piano); Red Mitchell (bass); Chuck Thompson (drums)
There are six bonus tricks recorded by the trio in 1955 with either Mel Lewis or Shelly Manne replacing Thompson.
Recorded 28th June 1955, 3rd December 1955, 25th January 1956.
There is a story that Hampton Hawes and Sonny Criss encountered Charlie Parker on Parker’s notorious trip to the West Coast. They listened to the great saxophonist, learned from him and hung out with him. Hawes and Criss were just kids. The music they heard changed their lives and to a certain extent set them a challenge that they worked on for the rest of their lives.
The challenge for Hawes was how to translate the innovations from Parker to the piano. He was also influenced by Bud Powell and, of course, Tatum. An apocryphal story relates that Hawes encountered Tatum who said to the younger man: ‘You hot!’
He was hot. The albums here are early Hawes. At this point he was happiest at a high tempo. ‘Hamp’s Blues’ show his unfurling, long, unpredictable improvisations and his locked hands. You can hear his ability to build in slight dissonances without inhibiting the flow of his ideas. Contrast that with the rather wooden arrangement of ‘Autumn in New York’. ‘All The Things You Are’ springs into life when he increases the tempo. ‘Steeplechase’ is a highlight and pure Hawes. The energy and electricity that he injects into the piece is impressive. There are similar delights across the three albums.
Red Mitchell was an innovative bass player who had an individual way of plucking the strings to gain resonance and increased sound. The power of the bassist shines through particularly on ‘These Foolish Things’. Chuck Thompson was the kind of drummer adept with brushes who was content to accompany. His work on ‘Steeplechase’ is a highlight as he drives Hawes.
One of the features of Contemporary records was that most of their sessions were recorded by Roy Du Nann. It is only in recent years that the quality of Du Nann’s recordings has been recognised. The work of Rudy Van Gelder for Blue Note has been lauded even though it has been noted that he did not record pianos particularly well. Du Nann’s work now is prized by audiophiles. He recorded the second and third of the three albums here.
Reviewed by Jack Kenny
