- Released: May 21, 1996
- Label: RCA
- 1.Meet Doctor Foo
- 2.Fine Dinner
- 3.She's Funny That Way
- 4.Body and Soul
- 5.When Day Is Done
- 6.The Sheik of Araby
- 7.My Blue Heaven
- 8.Bouncing with Bean
- 9.Say It Isn't So
- 11.April in Paris
- 12.How Strange
- 13.Half Step Down, Please
- 14.Angel Face
- 15.There Will Never Be Another You
- 16.The Bean Stalks Again
- 17.Body and Soul
- 18.I Love Paris
- 19.Under Paris Skies
Personnel includes: Coleman Hawkins (tenor saxophone); Thelma Carpenter (vocals); Jackie Fields, Bud Johnson (alto saxophone); Allen Eager (tenor saxophone); Charlie Shavers, Fats Navarro, Jimmy Nottingham (trumpet); Jimmy Buffington (French horn); J.C. Higginbotham, J.J. Johnson, Urbie Green (trombone); Sid Jekowsky (flute, clarinet); Hal McKusick, Zoot Sims, Al Cohn, Al Young, Romeo Penque (reeds); Marty Wilson (vibraphone); Gene Rodgers, Jimmy Jones, Hank Jones (piano); Lawrence Lucie, Mary Osborne, Chuck Wayne, Barry Galbraith (guitar); Oscar Smith, Johnny Williams, Al McKibbon, Milt Hinton, Jack Lesberg, Arnold Fishkin (bass); Art Herbert, Walter Johnson, Shelly Manne, Max Roach, Osie Johnson (drums).
Recorded at RCA Studios, New York, New York between 1939 and 1956. Includes liner notes by Dan Morgenstern.
Digitally remastered from original metal parts and master tapes by Ed Begley and Bernardo Cosachov.
Personnel includes: Coleman Hawkins (tenor saxophone, clarinet); Don Redman (vocals, baritone saxophone, clarinet); Benny Carter (alto saxophone, trumpet, clarinet); Chu Berry (tenor saxophone); Henry "Red" Allen, Roy Eldridge, Cootie Williams (trumpet); Rex Stewart (cornet); Glenn Miller, J.C. Higginbotham (trombone); Pee Wee Russell (clarinet); Fats Waller, Fletcher Henderson, Stephane Grappelli, Art Tatum (piano); Eddie Condon (banjo); Oscar Pettiford (bass); Gene Krupa, Sid Catlett (drums).
Compilation producers: Tony Watts, Colin Brown.
Recorded between November 6, 1929 and December 4, 1943. Includes liner notes by Tony Watts.
Personnel: Coleman Hawkins (tenor saxophone); Thelma Carpenter (vocals); Chuck Wayne, Lawrence Lucie, Mary Osborne, Barry Galbraith (guitar); Paul Gershman (violin, bells); Leo Kruczek, Dave Sarser, Cy Miroff, Al Rudnitsky, Stan Kraft, David L. Newman , Tosha Samaroff, Arnold Eidus, Max Cahn, Max Hollander, Gene Orloff, Harry Lookofsky (violin); Isadore Zir (viola); Bernard Greenhouse , Eddie Sodero, Alan Schulman, George Ricci (cello); Sid Jekowsky (flute, clarinet); Julius Baker (flute); Danny Polo (clarinet); Phil Bodner (oboe); Hal McKusick, Raymond Beckenstein, Al Cohn, Al Young, Sam Marowitz, Sol Schlinger, Zoot Sims, Romeo Penque (reeds); Pete Brown , Eustis Moore, Jackie Fields, Budd Johnson (alto saxophone); Nick Travis (tenor saxophone, trumpet); Fats Navarro, Allen Eager (tenor saxophone); Marion Deveta (baritone saxophone); Ernie Royal, Tommy Lindsay, Lou Oles, Joe Guy, Benny Carter , Bernie Glow, Jimmy Nottingham, Charlie Shavers (trumpet); James Buffington (French horn); Fred Ohms, Tommy Mitchell , J.C. Higginbotham, J.J. Johnson , Jack Satterfield, Earl Hardy, Urbie Green, Chauncey Welsch (trombone); Gene Rodgers, Hank Jones , Jimmy Jones (piano); Marty Wilson (vibraphone); Arthur Herbert, Max Roach, Osie Johnson, Shelly Manne, Walter Johnson (drums); Phil Kraus (bells).
Liner Note Author: Dan Morgenstern.
Recording information: RCA Studios, N.Y., NY (10/11/1939-07/09/1956).
Photographer: Chuck Stewart.
Unknown Contributor Role: Dan Morgenstern.
Arranger: Manny Albam.
Named after Hawkins' 1939 proto-bebop classic, this legendary collection proves why Hawkins is considered by many the finest tenor ever. Picking up his career after a stint alongside Louis Armstrong in Fletcher Henderson's big band and five years in prewar Europe, BODY AND SOUL focuses on Hawkins' essential small group sides of the '40s. Here the former swing enthusiast helped create bebop with the help of future jazz icons Benny Carter, J.J. Johnson, Zoot Sims and Max Roach. From "Meet Doctor Foo" to "Angel Face," Hawkins transforms standards like "My Blue Heaven" into something startlingly new and creates originals like "Bouncing With Bean" that would go on to influenced an entire generation of players. The mid-'50s orchestral sessions that end the album show Hawkins' eagerness to bring bebop's structures into new arenas, and the lovely, string-laden remake of the title track indicates that the experiment was a success.