Top Artists – Hampton Hawes

Hampton Hawes in 1964 – The Green Leaves of Summer

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  • This ’70s pressing was our Shootout Winner on side two for its clean, clear and lively sound, with lovely space around all of the instruments 
  • Not an easy title to find, and this one is quieter than most of what we played – Mint Minus to Mint Minus Minus
  • “Hawes had lost nothing of his swinging style while in prison, as can be heard on such numbers as “Vierd Blues,” “St. Thomas” and “Secret Love,” and he was just starting to hint at moving beyond bop. Recommended.” – All Music

This Contemporary Yellow Label LP has wonderful Contemporary All Tube sound, courtesy of the amazing engineering of Howard Holzer. The piano is right — weighty and percussive with a full-bodied tone. The bass definition is superb. The clarity and transparency here are nothing short of breathtaking.

Steve Ellington’s brush work on the snare is very clear on this copy, helping to push the music to the next level. On the great Sonny Rollins track, St. Thomas, Steve Ellington is doing some fancy playing on the rims of his drums — the ambience bouncing off the studio walls is amazing.

A major highlight here is the completely original interpretation of Blue Skies. Hawes gets going with some really complicated two-handed playing. With the superb clarity of this copy you won’t miss a note. (more…)

Hampton Hawes – At The Piano

Some sections on our site are hard to find. Here’s one with lots of cool records in it:

Forgotten Jazz Classics

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Hampton Hawes – At The Piano

A distinguished member of the Better Records Jazz Hall of Fame.

This Contemporary Yellow Label LP has THE BEST SOUND and THE BEST MUSIC I have EVER heard on a Hampton Hawes album! When we dropped the needle on this one we could not believe our ears — it’s got The Big Sound, that’s for sure.

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Both sides rate A++ and may very well be As Good As It Gets. I certainly can’t imagine this music sounding any better.The piano has real weight, the bass is deep and tight, and the drums sound correct. The overall sound is rich, sweet, and tonally correct from top to bottom. It’s incredibly open and transparent — you can hear tons of ambience.

Drop the needle on Blue In Green on side two — the sound of the bowed bass is WONDERFUL.

This is my favorite Hampton Hawes record of all time. He died less than a year after these sessions. Looking at the cover, you can almost see in his face his acceptance of the end he knew was coming. He plays with deep emotion here. Ray Brown and Shelly Manne (the same rhythm section who back Joe Sample on my all-time favorite piano trio album)accompany him beautifully. The version of Killing Me Softly With His Song that opens the album is lovely.

One high point of this album is the interview that Lester Koenig conducts with Hampton Hawes on the back cover. Lester died soon thereafter himself.

Hampton Hawes – Vol 2: The Trio

Some sections on our site are hard to find. Here’s one with lots of cool records in it:

Forgotten Jazz Classics

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Hampton Hawes – Vol 2: The Trio

A distinguished member of the Better Records Jazz Hall of Fame.

This Triple Plus (+++) pressing from ’55/’56 mono tapes is EVERYTHING that’s good about mono. The size, the weight, the solidity, the clarity, the energy, the rhythmic drive – it’s all here and more. This killer pressing has the best sound and the best music we have ever heard on any Hampton Hawes album.

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There is nothing to fault in the sound of side one of this pressing , and side two was nearly as good – what a record!

Both sides are Tubey Magical, rich, open, spacious and tonally correct. We’ve never heard the record sound better, and that’s coming from someone who’s been playing the album since the ’80s.

These guys are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one.

Based on what I’m hearing my feeling is that most of the natural, full-bodied, smooth, sweet sound of the album is on the master tape, and that all that was needed to transfer that vintage sound correctly onto vinyl disc was simply to thread up the tape on a high quality machine and hit play.

The fact that nobody seems to be able to make an especially good sounding record these days — certainly not as good sounding as this one — tells me that in fact I’m wrong to think that such an approach would work. Somebody should have been able to figure out how to do it by now. In our experience that is simply not the case today, and has not been for many years, if not decades.

George Horn

George Horn was doing brilliant work on Contemporary recordings all through the ’80s. This album is proof that his sound is the right sound for this music.