His working quartet in the 1960s consisted of the great pianist Tommy Flanagan, bassist Major Holley, and drummer Eddie Locke, but his finest recording of the decade was a collaboration with a small Duke Ellington unit in 1962. Coleman Hawkins, known as "The Hawk" or "Bean," basically invented tenor sax as we know it, all the way down to Bill Clinton playing his way to office. He was named Coleman after his mother Cordelia's maiden name. He left Henderson's band in 1934 and headed for Europe. During 1944, He recorded in small and large groups for the Keynote, Savoy, and Apollo labels. While in Chicago he made some recordings for the Apollo label that have since been hailed, according to Chilton, as the first recordings of Bebop. In Down Beat in 1962, Bean explained his relationship to bebop and two of its pioneerssaxophonist Charlie Parker and trumpeter Dizzy Gillespie: Charlie Parker and Dizzy were getting started, but they needed help. Coleman Hawkins (nicknamed the "Hawk" or the "Bean") was born in 1904 in St.Joseph, Missouri. Tipico has no influence over nor are any such revenues in any way dependent on or linked to the newsrooms or news coverage. That general period saw him recording with such diverse stylists as Sid Catlett, Tyree Glenn, Hilton Jefferson (a Fletcher Henderson colleague), Hank Jones, Billy Taylor, J. J. Johnson and Fats Navarro. From then on, Coleman Hawkins and Lester Young became twin icons of the saxophone. Futhermore Young's way of improvising was unique. But Hawk was never an aggressive or well-organized businessman; as a result, his band never reached the wild popularity of Duke Ellington and Count Basies. Members of the Mintons house band, such as Joe Guy, Nick Fenton, and Kenny Clarke, continue to contribute to Armstrongs music today. He was leader on what is considered the first ever bebop recording session with Dizzy Gillespie and Don Byas in 1944. Therefore, its best to use Encyclopedia.com citations as a starting point before checking the style against your school or publications requirements and the most-recent information available at these sites: http://www.chicagomanualofstyle.org/tools_citationguide.html. It is generally considered to be the first unaccompanied sax solo ever recorded, though Hawkins recorded the much lesser known Hawks Variations I & II earlier, in 1945. Despite alcoholism and ill health, he continued playing until shortly before his death in 1969. Dexter, to me, is one of the daddies. Professional Debut at 12. ." He was one of the first prominent jazz musicians on his instrument. b. Active. And if he were unable to charm some musical colleagues with his quiet personality, his horn playing usually did the job. Began playing professionally in local dance bands, 1916; performed with Maime Smith and the Jazz Hounds as Saxophone Boy and made recording debut, 1922-23; performed with Fletcher Henderson Band, 1923-34; performed and recorded in Europe, 1934-39; formed own band and recorded Body and Soul, 1939; led own big band at Daves Swingland, Chicago, 1944; returned to Europe for series of engagements, 1947; played on 52nd St., New York City, late 1940s-early 1950s; continued to record and perform, U.S. and Europe, late 1950s, 1960s. Hawkins was born in 1904 in the small town of St. Joseph, Missouri. Ben Webster, in full Benjamin Francis Webster, (born March 27, 1909, Kansas City, Mo., U.S.died Sept. 20, 1973, Amsterdam, Neth. News of Hawkinss conquest of Europe quickly reached the U.S. and when he resumed his place on the New York jazz scene, it was not as a sideman, but as a leader; he formed a nine-piece band and took up residency at Kellys Stable, from which his outfit received a recording deal. The Song of the Hawk, a 1990 biography written by British jazz historian John Chilton, chronicles Hawkins's career. These were good days for an accomplished musician like Hawkins, and there was no shortage of gigs or challenging after-hours jam sessions. The improvisation is perfectly constructed and, though the saxophone alone tends to sound lonely, it easily fills the scene by itself. Coleman Hawkins's most famous recordingthe 1939 ______was a pinnacle in jazz improvisation and a tremendous commercial success. In 1939, he recorded a seminal jazz solo on the pop standard "Body and Soul," a landmark equivalent to Armstrong's "West End Blues" and likened to Lincoln's Gettysburg Address by jazz writer Len Weinstock: "Both were brief, lucid, eloquent and timeless masterpieces, yet tossed off by their authors as as mere ephemera.". The Genius of Coleman Hawkins (recorded in 1957), Verve, 1986. The Savoy, where Eldridge recorded his first album, Roy Eldridge, was released in 1937. By 1947 the once-thriving 52nd Street scene in New York was beginning its decline and Hawk, finding gigs less available, packed up and left for Paris, where he was received warmly by those who had remembered him from his prewar visits. His parents both loved music, especially his mother, who was a pianist and organist. . Despite his health problems, he continued to work until a few weeks before his death. While in Chicago he made some recordings for the Apollo label that have since been hailed, according to Chilton, as the first recordings of Bebop. In Down Beat in 1962, Hawkins explained his relationship to bebop and two of its pioneerssaxophonist Charlie Parker and trumpeter Dizzy Gillespie: Charlie Parker and Dizzy were getting started, but they needed help. Cite this article Pick a style below, and copy the text for your bibliography. As Hawkins gladly admits, many have developed great sounds of their own, among them Ben Webster and Leon Chu Berry. Body and Soul (recorded 1939-56), Bluebird, 1986. I never understood why that band could never record, Hawk told Gardner. [1], Fellow saxophonist Lester Young, known as the "President of the Tenor Saxophone," commented, in a 1959 interview with The Jazz Review: "As far as I'm concerned, I think Coleman Hawkins was the president, first, right? He performed alongside Gillespie and Armstrong on some of their most important recordings in the 1940s. After a brief period in 1940 leading a big band,[6] Hawkins led small groups at Kelly's Stables on Manhattan's 52nd Street. Lester Young had a light sound, played rhythmically unpredictable phrases, and spoke a special slang. Encyclopedia.com. Hawkins was one of the first jazz horn players with a full understanding of intricate chord progressions, and he influenced many of the great saxophonists of the swing era . Within the Cite this article tool, pick a style to see how all available information looks when formatted according to that style. Ben Vaughn grew up in the Philadelphia area on the New Jersey side of the river. He died on May 19, 1969, due to pneumonia. Walter Theodore " Sonny " Rollins [2] [3] (born September 7, 1930) [4] is an American jazz tenor saxophonist who is widely recognized as one of the most important and influential jazz musicians. Until late in his career, he continued to record with many bebop performers whom he had directly influenced, including Sonny Rollins, who considered him his main influence, and such adventurous musicians as John Coltrane. Just as Hawkins influenced one of the greatest alto players in history, he has influenced many people to become phenomenal saxophone players. Coleman Hawkins was an American jazz tenor saxophonist. Hawkins gave inspired performances for decades, managing to convey fire in his work long after his youth. . One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: "there were some tenor players before him, but the instrument was not an acknowledged jazz horn". Coleman Hawkins excelled at. He was also featured on a Benny Goodman session on February 2, 1934 for Columbia, which also featured Mildred Bailey as guest vocalist. Lady Day was also a nickname that her friend and musical partner, Lester Young, gave her. Coleman had previously attended a black-only school in Topeka, Kansas. Hawkins was born in Saint Joseph, Missouri, United States, in 1904. Hawkins landed his first professional gig when he was overheard trying out a new mouthpiece by a musician, who then gave the precocious 12-year-old work in local dance bands. He was only 20 years old, but he was making good money and was carving out a reputation in and around New York as the king of the sax. Whether it was senility or frustration, Hawkins began to lose interest in life. He also abundantly toured with Jazz at the Philharmonic and kept playing alongside the old (Louis Armstrong) and the new (Charlie Parker). After surviving numbers of artistic challenges and making repeated comebacks (not that he had ever really disappeared), Hawkins became somewhat disillusioned with the evolving situation of the recording industry. A relative late-comer as a bandleader, his recordings in the 1950s until his death in 1974 showcase his Coleman Hawkins-influenced tone and ear for melodic improvisation. At age 6, his uncle gave him a Duane Eddy record and forever changed his life. Hawkins died on May 19, 1969, at Wickersham Hospital in New York, after suffering from bronchial pneumonia complicated by a liver disease. As much as jazz was his medium, he remained passionately devoted to classical music, playing it at homemainly on the pianoand maintaining a formidable collection of classical music and opera. British trumpeter and critic John Chilton has written a landmark biography, The Song of the Hawk: The life and Recordings of Coleman Hawkins (1990). harmonic improvisation. From the 1940s on he led small groups, recording frequently and playing widely in the United States and Europe with Jazz at the Philharmonic and other tours. Sometime after the end of World War II, Coleman Hawkins recorded a two- part solo saxophone improvisation for the Selmer corporation, known as "Hawk's Variation," which was released as a demo to help promote their new line of horns. Durin, Oliver, Joe King 1885 But when the Jazz Hounds returned two years later, they were still interested in recruiting Hawkins; so, in 1922with the stipulation that Maime Smith become his legal guardianMrs. Later, he toured with Howard McGhee and recorded with J.J. Johnson, Fats Navarro, Milt Jackson, and most emerging giants. A:B:Cvr - Ex:Ex:Ex. In the 1950s, Hawkins performed with musicians such as Red Allen and Roy Eldridge, with whom he appeared at the 1957 Newport Jazz Festival and recorded Coleman Hawkins Encounters Ben Webster with fellow tenor saxophonist Ben Webster along with Oscar Peterson, Herb Ellis, Ray Brown, and Alvin Stoller. All of the following are true of Roy Eldridge EXCEPT: a. Waldstein, David "Hawkins, Coleman 19041969 This tenor saxophonist, influenced by Coleman Hawkins, gained fame as a rambunctious soloist with the Duke Ellington Orchestra: a. Chu Berry b. Ben Webster c. Lester Young d. Charlie Parker e. Johnny Hodges ANS: B PTS: 1 DIF: Medium REF: p. 189 ." There is frequently a rhythmic stiffness in his attempts to integrate his sound with theirs, and he thrived best in that period when he collaborated with his fellow swing era stalwarts, playing more traditional material. His mastery of complex harmonies allowed him to penetrate the world of modern jazz as easily, but in a different way from Youngs cool style. And it was a huge stage. The Fascinating Tale Of John Lennons Duel Citizenship. On faster, swinging tunes his tone was vibrant, intense and fiery. [4] In a seven-decade career, he has recorded over sixty albums as a leader. Hawkins was one of the first jazz horn players with a full understanding of intricate chord progressions, and he influenced many of the great saxophonists of the swing era (notably Ben Webster and Chu Berry) as well as such leading figures of modern jazz as Sonny Rollins and John Coltrane. And if he were unable to charm some musical colleagues with his quiet personality, his horn playing usually did the job. "Hawkins, Coleman It was shortly after this busy period that Hawkins fell into the grip of depression and heavy drinking and his recording output began to wane. He returned in 1939 and recorded his . In 1960, he participated in the recording of Max Roach's We Insist! Bean, said saxophonist Sonny Stitt in Down Beat, set the stage for all of us. In a conversation with Song of the Hawk author Chilton, pianist Roland Hanna expressed his admiration for Hawks musicianship, revealing, I always felt he had perfect pitch because he could play anything he heard instantly. All these traits were found in his earliest recordings. TOP: Coleman Hawkins: "Body and Soul" MSC: Conceptual 9. Hawk learned a great deal on the tour and, playing everyday, developed a self-confidence that eventually enabled him to leave the band and set out for New York to play the Harlem cabaret circuit. He was the first major saxophonist in the history of jazz. A married man with three children, Hawkins' consumption of alcohol seemed to be his only vice. Brecker's playing spanned the jazz and pop worlds. As Chilton stated, [With Body and Soul] Coleman Hawkins achieved the apotheosis of his entire career, creating a solo that remains the most perfectly achieved and executed example of jazz tenor-sax playing ever recorded.. Disorder at the Border: The Coleman Hawkins Quintet, Spotlight, 1952. (February 23, 2023). As early as 1944 with modernists Dizzy Gillespie, Max Roach, and Oscar Pettiford he recorded "Woody'n You, " probably the first bop recording ever. Fletcher Henderson's band was likely the most influential group of musicians to affect the 1920's swing dance craze, and Hawkins played a prominent role in the orchestra2. Sonny [Rollins] Meets Hawk (1963): Just Friends, Summertime. Hawkins began to play the tenor saxophone while living in Topeka and quickly rose to prominence as one of the countrys best jazz saxophonists. who considered him as his main influence . He attended high school in Chicago, then in Topeka, Kansas at Topeka High School. Sonny Rollins can rightfully claim to be the inheritor of Hawkins style in the setting of Hard Bop, though he never wanted to compare himself to his role model. When he finally left the band, he was a star. p. 170 TOP: A World of Soloists 10. Coleman Hawkins and Ben Webster, the grandfathers of the saxophone. The next decade was both one of fulfillment and one of transition. . [6] In his youth, he played piano and cello, and started playing saxophone at the age of nine; by the age of fourteen he was playing around eastern Kansas. Illinois broke the school's single-season blocks record Sunday at Ohio State, on a Coleman Hawkins block with 7:45 left in the first . He changed the minstrel image. . Trumpeter, composer, bandleader Hawkins briefly established a big band that proved commercially unsuccessful. An improviser with an encyclopedic command of chords and harmonies, Hawkins played a formative role over a 40-year (1925-1965) career spanning the emergence of recorded jazz through the swing and bebop eras. Hawkins then joined Fletcher Henderson's Orchestra, with whom he played through 1934, occasionally doubling on clarinet and bass saxophone. The sounds of Bach, Tatum, Armstrong, and the untold musicians who had filled his head and ears culminated in one of the greatest spontaneous set of variations ever recorded.[16]. He was one of the first prominent jazz musicians on his instrument. Hawkins was born in 1904 in the small town of St. Joseph, Missouri. Always the sophisticate, he now made it a point to be stylishly dressed as well. . Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA). As was his way, during this period Hawkins often found time to sit in on recording sessions; his recorded output is indeed extensive. Im ashamed of it. In fact, Hawkins lamented in an interview with English journalist Mark Gardner, printed in liner notes to the Spotlight album Disorder at the Border: The Coleman Hawkins Quintet, despite electrifying live shows, the Fletcher Henderson Band never recorded well. Disorder at the Border: The Coleman Hawkins Quintet, Spotlight, 1960. Its funny how it became such a classic, Hawk told Down Beat in 1955. Coleman Hawkins was an American jazz tenor saxophonist who was one of the first prominent jazz musicians on his instrument. As was his way, during this period Hawkins often found time sit in on recording sessions; his recorded output is indeed extensive. In 1944 he went to Chicago to headline a big band at Daves Swingland. At age four Hawkins began to study the piano, at seven the cello, and at nine the saxophone. At the age of 16, in 1921, Hawkins joined Mamie Smith's Jazz Hounds, with whom he toured through 1923, at which time he settled in New York City. The Hawk Relaxes (recorded in 1961), Moodsville, reissued, Fantasy/OJC, 1992. Hawkins and Young were two of the best tenor sax players that had emerged during the swing era. He was a prolific pop session player and appeared on more than 700 . On occasion, Hawkins also experimented with other styles, including the Bossa Nova (Desafinado: Bossa Nova and Jazz Samba, 1962) and in sessions accompanied with strings, following the lead of Charlie Parker. Remarkably, Hawkins developed two strikingly different styles concurrently towards the end of the 1930s. 23 Feb. 2023 . Hawkins was a bebop pioneer in the 1940s and a singer-song writer whose recording and touring career in the 1960s drew attention. When Otto Hardwick, a reed player with Duke Ellingtons orchestra, gave Roy Eldridge the lasting nickname Lit, Saxophonist These recordings testify to Hawkins incredible creativity and improvisational skills, especially when several takes of the same piece recorded on the same day have been preserved (Coleman Hawkins: The Alterative Takes, vol. The decades as a musical omnivore came to fruition as he signaled to pianist Gene Rodgers to make an introduction in Db. Encyclopedia.com. There would be few young jazz saxophonists these days who aren't influenced by Michael Brecker. As an artist, Hawks life contained many contradictions. Hawkins was a key figure in the development of the jazz horn, influencing a number of great swing saxophonists, including Ben Webster and Chu Berry, as well as leading contemporary figures such as Sonny and John Coltrane. The tenor saxophone has been a symbol of jazz since the early 1900s. [21] Hawkins recorded in 1963 alongside Sonny Rollins for their collaborative album Sonny Meets Hawk!, for RCA Victor. On October 11, 1939, he recorded a two-chorus performance of the standard "Body and Soul",[6] which he had been performing at Bert Kelly's New York venue, Kelly's Stables. In fact, until his emergence in the 1920s, the sax was not really even considered a jazz instrument. His sight reading and musicianship was faultless even at that young age, Bushell said of the young sax player. At the age of 21, fuelled by his encounter with Armstrong, Coleman Hawkins had made impressive strides towards achieving an original solo voice.'[46] Lyttelton puts it this way: 'Perhaps the most startling revelation of Armstrong's liberating influence comes when Coleman Hawkins leaps out of the ensemble for his solo. Some early sources say 1901, but there is no evidence to prove such an early date. Hawkins's playing changed significantly during Louis Armstrong's tenure with the Henderson Orchestra (192425). Hawks solo on the tune was a lilting, dynamic, and incomparable work of art never before even suggested, and it would change the way solos were conceived and executed from that day on. Coleman Hawkins. Retrieved February 23, 2023 from Encyclopedia.com: https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/coleman-hawkins. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: "there were some tenor players before him, but the instrument was not an acknowledged jazz horn". Coleman Hawkins was one of the first jazzmen to be inducted into the Jazz at the Lincoln Centers Hall of Fame in 2004. "[15], Loren Schoenberg, Director of National Jazz Museum in Harlem, states that no matter how nonchalantly Hawkins tried to make the choice to record "Body And Soul" seem, it had long been his encore during his European years, and he had a lot riding on this session. Coleman Hawkins, in full Coleman Randolph Hawkins, (born November 21, 1904, St. Joseph, Mo., U.S.died May 19, 1969, New York, N.Y.), American jazz musician whose improvisational mastery of the tenor saxophone, which had previously been viewed as little more than a novelty, helped establish it as one of the most popular instruments in jazz. Throughout the 1930s and 1940s, she toured extensively, and her music was very popular. Coleman Hawkins was an American jazz tenor saxophonist. He also kept performing with more traditional musicians, such as Henry "Red" Allen and Roy Eldridge, with whom he appeared at the 1957 Newport Jazz Festival. The tenor saxophone was transformed into a jazz instrument with the help of a tenor saxophonist, turning it from a comic novelty to the pinnacle of jazz. That, alone, makes this segment worth the price of the DVD. harmonic improvisation. Practically all subsequent tenor players were influenced by Hawkins, with the notable exception of Lester Young. With the McKinneys Cotton Pickers: Plain Dirt (1929). He toured with Fletcher Hendersons band early in the 1920s, and then joined Claude Hopkins band for a few months. There is record of Hawkins' parents' first child, a girl, being born in 1901 and dying at the age of two. Despite repeated efforts by critics and fans to associate musicians with a style or school, Hawkins never felt comfortable being pigeonholed into any single category, including bebop. It has been often emphasized that Hawkins played along vertical harmonic structures, rather than subtle, easy-flowing melodic lines like Lester Young. Hawkins biographer John Chilton described the prevalent styles of tenor saxophone solos prior to . To this day, jazz musicians around the world have been telling and retelling those stories. Hawkins was a guest soloist in Europe for much of the 1930s and 1940s. He died of pneumonia and liver disease in 1969, and is interred at the Woodlawn Cemetery in the Bronx next to Duke Ellington, Lionel Hampton, and other jazz greats. ISBN links support NWE through referral fees. His influence on the work of todays top jazz saxophonists will only grow in the coming years. [6], The origin of Hawkins' nickname, "Bean", is not clear. Before Armstrong had a great influenced on jazz music there was the Dixieland. Besides listening to the alto saxophonists of the day, in his formative years Charlie Parker also was influenced by all of the following tenor saxophonists EXCEPT: a. Chu Berry c. Sonny Rollins b. Coleman Hawkins d. Lester Young ANS: C PTS: 1 DIF: 1 REF: p. 212 As an influential cornet, Gillespie, Dizzy 1917 Coleman Hawkins, a Missouri native, was born in 1904. At the behest of Impulse Records producer Bob Thiele, Hawkins availed himself of a long-desired opportunity to record with Duke Ellington for the 1962 album Duke Ellington Meets Coleman Hawkins,[6] alongside Ellington band members Johnny Hodges, Lawrence Brown, Ray Nance, and Harry Carney as well as the Duke. During these cutting sessions, Hawk would routinely leave his competitors gasping for air as he carved them up in front of the delighted audience, reported Chilton. He developed a particularly close and lasting working relationship with trumpet great Roy Eldridge, himself a link between the world of swing and that of bebop. Encyclopedia.com. One of his great musical admirers, Brew Moore was quoted . The instrument was first played by African American musicians in New Orleans, and it soon became a staple of jazz bands. Hawkins was a master of the tenor saxophone and was one of the first jazz musicians to really develop the instruments potential. He appeared on a Chicago television show with Roy Eldridge early in 1969, and his last concert appearance was on April 20, 1969, at Chicago's North Park Hotel. There are many ways to look at Coleman Hawkins art, but few ways to look at his life. "So, to me, Colemans carriage, a black musician who displayed that kind of prideand who had the accomplishments to back it upthat was a refutation of the stereotypical images of how black people were portrayed by the larger society.. While every effort has been made to follow citation style rules, there may be some discrepancies. In his younger days he redefined the role of the saxophone with bold and insightful solos, but in later years he hated to listen to his recordings from that period. Contemporary Black Biography. When famed blues singer Maime Smith came to Kansas City, Missouri, she hired Coleman to augment her band, the Jazz Hounds. However, the date of retrieval is often important. ." Coleman Hawkins is the first full-length study written by a British critic, in 1963 by Albert J. McCarthy. Hawkins had an impressive range of abilities as well as an impressive set of skills when compared to his peers, who had nicknamed him Bean because of his head shape. Articles from Britannica Encyclopedias for elementary and high school students. ." Evidence of this came when Hawkins had a run-in with a club owner, who demanded that Henderson fire Hawk on the spot. This article is about the saxophonist. Listen to recordings of any jazz saxophone player made in the last 50 years and you will be hearing the influence of Coleman Hawkins, the Father of the Tenor Saxophone. During the early part of his career Hawkins was known simply as the best tenor player in the world; but he now has the rare distinction of being considered a revolutionary, virtuoso performer at a level attained by only a small collection of great jazz musicians. His mature style (both fast and slow) emerged in 1929, and Hawkins has been credited by some to have invented the Jazz ballad. He is regarded as perhaps the most influential saxophonist since Coltrane. World Encyclopedia. From 1934 to 1939 Hawkins lived in Europe. For this and personal reasons, his life took a downward turn in the late 60s. Lyttelton puts it this way: Perhaps the most startling revelation of Armstrong's liberating influence comes when Coleman Hawkins leaps out of the ensemble for his solo. Hawkins, a trombonist, frequently collaborated with some of the most talented and influential jazz musicians of the time, such as J. J. Powell. "As far as I'm concerned, I think Coleman Hawkins was the President first, right? Hawkins and his colleagues also had the opportunity to experience other aspects of European cultural life. Although he was a great musician, his trumpet playing, which won him fans around the world, remains his most memorable performance. A full-time engagement as Duke Ellington's first featured . He was born in Missouri in 1904 and began playing professionally in the 1920s. had listened to Body and Soul over and over until they had memorized Beans solo, and they continued to listen to his flowing and lyrical tenor for new gems that they could employ. Jazz Tones (recorded in 1954), EPM, 1989. He practically quit eating, increased his drinking, and quickly wasted away. Coleman Hawkins. But when the Jazz Hounds returned two years later, they were still interested in recruiting Hawkins; so, in 1922with the stipulation that Maime Smith become his legal guardian-Mrs. Hawkins relented, and Hawkins, billed by the Jazz Hounds as Saxophone Boy, set out on his first long-term touring engagement. . He was one of the music's all-time preeminent instrumental voices. Evidence of this came when Hawkins had a run-in with a club owner, who demanded that Henderson fire Hawk on the spot. David Roy Eldridge (January 30, 1911 - February 26, 1989), nicknamed "Little Jazz", was an American jazz trumpeter. During his time with Henderson, he became a star soloist with increasing prominence on records. Began playing professionaly in local dance bands, 1916; performed with Maime Smith and the Jazz Hounds as Saxophone Boy and made recording debut, 1922-23; performed with Fletcher Henderson Band, 1923-34; performed and recorded in Europe, 1934-39; formed own band and recorded Body and Soul, 1939; led own big band at Daves Swingland, Chicago, 1944; returned to Europe for series of engagements, 1947; played on 52nd St., New York City, late 1940s-early 1950s; continued to record and perform, U.S. and Europe, late 1950s, 1960s.