who influenced coleman hawkins

Coleman Hawkins and Confreres, Verve, 1988. Eventually Hawkins was discovered by bandleader Fletcher Henderson, who recruited the young man for his big band, one of the most successful outfits of the 1920s. Before Armstrong had a great influenced on jazz music there was the Dixieland. Whether playing live or in the studio, Hawkins was popular not only with the public, but with that more demanding group, his fellow musicians, who always respected the master. 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. From then on, Coleman Hawkins and Lester Young became twin icons of the saxophone. . Cite this article Pick a style below, and copy the text for your bibliography. I, reissued, RCA, 1976. "As far as I'm concerned, I think Coleman Hawkins was the President first, right? Ben Webster and Chu Berry developed an improvising style directly influenced by Coleman Hawkins 11. He was also known for his big sound and his ability to improvise. Milt Hinton was a string bass player whose career spanned much of the history of jazz and pop. All these traits were found in his earliest recordings. The American jazz musician Coleman Hawkins (1904-1969) transformed the tenor saxophone from a comic novelty into jazz's glamour instrument. Early days with the Fletcher Henderson Orchestra: Stampede (1927), Variety Stomp (1927), Honeysuckle Rose (1932), New King Porter Stomp (1932), Hocus Pocus (1934). 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. As was his way, during this period Hawkins often found time sit in on recording sessions; his recorded output is indeed extensive. The emergence of bebop, or modern jazz, in the 1940s, demonstrated Hawkins' formidable musicianship and artistic sophistication. In addition to his playing, Hawkins stood out among his peerswho had nicknamed him Bean for the shape of his headin terms of speech and manner. . Pick a style below, and copy the text for your bibliography. "[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. Occasionally, his playing was affected by a lack of stimulating competition. And then I was very well received.. Hawkins 1939 rendition of Body and Soul, widely regarded as one of the most influential jazz recordings of all time, is without a doubt his most famous performance. Although with Armstrong it seemed to be a personal dislikeHawkins never disparaged the trumpeters playingwith Young he expressed on more than one occasion an inability to understand Youngs popularity. Part of the fun of going back and spending time listening to all these musicians in a historical context is trying to piece . Saxophone remains as jazz's primary solo voice nearly 90 years later. Jazz. Corrections? Coleman Hawkins was born on November 21, 1904, in St. Joseph, Missouri. The first half of his tenure with Henderson served as a valuable apprenticeship, and by 1929, inspired by Louis Armstrong's improvisational concepts, Hawkins had developed the hallmarks of his mature stylea very large tone, a heavy vibrato, and a swaggering attack. The Hawk Relaxes (recorded in 1961), Moodsville, reissued, Fantasy/OJC, 1992. (February 23, 2023). When he first joined Henderson, Hawks tenor sounded much like a quacking duck, as did all other saxophone players in the early 20s. Find Coleman Hawkins similar, influenced by and follower information on AllMusic . Though she had encouraged her talented son to become a professional musician, Hawkinss mother deemed him too young to go out on the road. That year Down Beat voted him #1 on tenor saxophone, the first of many such honors. As an artist, Hawks life contained many contradictions. 2019Encyclopedia.com | All rights reserved. In a Mellow Tone (recorded 1958-62), reissued, Fantasy/OJC, 1988. At the Village Gate! You don't have Coltrane or Sonny Rollins if you don't have Dexter Gordon. Sonny [Rollins] Meets Hawk (1963): Just Friends, Summertime. Sessions for Impulse with his performing quartet yielded Today and Now, also in 1962 and judged one of his better latter-day efforts by The Penguin Guide to Jazz Recordings. By the age of 12 he was performing professionally at school dances; he attended high school in Chicago, then studied harmony and composition for two years at Washburn College in Topeka, Kansas. This article is about the saxophonist. Although Adolphe Sax actually invented the saxophone, in the jazz world the title "Father of the Tenor Saxophone" became justly associated with Coleman Hawkins (1904-1969), not only an inventive jazz giant but also the founder of a whole dynasty of saxophone players. Before Hawkins, the saxophone (itself "born" in 1846) was . He willingly embraced the changes that occurred in jazz over the years, playing with Dizzy Gillespie and Max Roach in what were apparently the earliest bebop recordings (1944). Unlike other jazz greats of the swing era like Benny Goodman and Django Reinhardt, whose efforts at adapting to the new idiom were sometimes painful to hear, Hawkins was immediately at ease with the new developments. In the November, 1946, issue of Metronome, he told jazz writer Leonard Feather, I thought I was playing alright at the time, too, but it sounds awful to me now. [11] Hawkins joined Fletcher Henderson's Orchestra, where he remained until 1934,[6] sometimes doubling on clarinet and bass saxophone. In Europe, they were not only accepted but enthusiastically welcomed and almost treated like royalty by local jazz fans and aspiring musicians. Matthew Mayer registered 11 points and knocked down three 3-pointers. Despite his health problems, he continued to work until a few weeks before his death. Even Free Jazz tenor Archie Shepp immediately evokes Hawkins by his powerful, large sound. Even when playing with local bands, he would often produce remarkable solos. There is record of Hawkins' parents' first child, a girl, being born in 1901 and dying at the age of two. Though she had encouraged her talented son to become a professional musician, Hawkinss mother deemed him too young to go out on the road. Freedom Now Suite (1960): Driva Man. Hawkins lived in New York City during the Harlem Renaissance in 1923. 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, that despite electrifying live shows, the Fletcher Henderson Band never recorded well. Despite failing health, he continued to work regularly until a few weeks before his death. "[2], Hawkins was born in Saint Joseph, Missouri, United States,[6] in 1904. His unmistakable sound has inspired musicians all over the world to follow suit for the last 20 years. His long tenure, begun in 1946, with the Jazz at the Philharmonic (JATP) tour brought him inevitably into musical contact with virtually all the top-flight younger players. The son of a railroad worker from Chicago, he began playing professionally at the age of 17 after moving to New York City. . Encyclopedia.com. For the next several years Hawk divided his time between Europe and the States, often playing with Jazz at the Philharmonic, which featured many jazz legends, among whom Hawk was always a headliner. Evidence of this came when Hawkins had a run-in with a club owner, who demanded that Henderson fire Hawk on the spot. Just as Hawkins influenced one of the greatest alto players in history, he has influenced many people to become phenomenal saxophone players. https://www.encyclopedia.com/education/news-wires-white-papers-and-books/hawkins-coleman-1904-1969, Waldstein, David "Hawkins, Coleman 19041969 Many musicians, regardless of their instrument, ." tenor. Hawkins led a combo at Kelly's Stables on Manhattan's famed 52nd Street, using Thelonious Monk, Oscar Pettiford, Miles Davis, and Max Roach as sidemen. he formed a nonet and played a long engagement at Kelly's Stables on New York's jazz-famed 52nd Street. His mother, an organist, taught him piano when he was 5; at 7, he studied cello; and for his 9th birthday he received a tenor saxophone. [3] Jammin' the Blues was a 1943 short film featuring jazz improvisation 14. Coleman Hawkins, also affectionately known as "Bean" and/or "Hawk", was born November 21st, 1904 in St. Joseph, Missouri. ." Webster began playing the violin in childhood and then played piano accompaniments to silent . 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. Indeed, the influence of Coleman Hawkins's recording of "Body and Soul" continues to inspire players of all instruments who wish to understand more about improvising using (and expanding) the harmonic structure of high-quality popular songs as a point of departure for their . I never understood why that band could never record, Hawk told Gardner. 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. What they were doing was far out to a lot of people, but it was just music to me.. The Hawk in Holland, GNP Crescendo, 1968. He's indispensable. In 1944 he went to Chicago to headline a big band at Daves Swingland. World Encyclopedia. Hawkins and his colleagues also had the opportunity to experience other aspects of European cultural life. Lester Young was at his zenith with the Basie band, and virtually all of the other major bands had a Hawkins-styled tenor in a featured position. Nov 21 1904 - May 19, 1969. . ISBN links support NWE through referral fees. In time he also became an outstanding blues improviser, with harsh low notes that revealed a new ferocity in his art. Also, as a leader on his own American and European engagements in the late 1940s and early 1950s he enlisted the talents of such outstanding young musicians as trumpeters Fats Navarro and Miles Davis, trombonist J.J. Johnson, and vibraphonist Milt Jackson. ." With his style fully matured and free from any affiliation to a particular band, Hawkins made a number of recordings in a variety of settings, both in studio and in concert. Hawkins is often--and correctly--identified as the first player to demonstrate the full expressive potential of the tenor sax. Our editors will review what youve submitted and determine whether to revise the article. and "I'm Through with Love" (1945, Hollywood Stampede); "Say It Isn't So" (1946), "Angel Face" (1947), and "The Day You Came Along" (1956, Body and Soul); "La Rosita" and "Tangerine" in tandem with tenor great Ben Webster (1957, Tenor Giants ); "Mood Indigo" and "Self Portrait of the Bean" (1962, Duke Ellington Meets Coleman Hawkins); and "Slowly" and "Me and Some Drums" (1962, Shelly Manne: 2, 3, 4). April in Paris Featuring Body and Soul, Bluebird, 1992. Coleman Hawkins was one of the most important and influential saxophonists in jazz history. During his stay he developed lasting friendships, as well as an expanding admiration for the art, theater, and larger culture of Europe. Practically all subsequent tenor players were influenced by Hawkins, with the notable exception of Lester Young. A year later he officially joined Henderson's band and remained with it until 1934. Coleman Hawkins's Career. Omissions? Lester Young had a light sound, played rhythmically unpredictable phrases, and spoke a special slang. Hawkins playing was inventive and harmonically advanced for his time. The stay in Europe had another beneficial impact on Hawkins, as it did on other African-American musicians of that time. I, RCA, 1976. harmonic improvisation. His playing was marked by a deep, rich tone and a mastery of the blues. Retrieved February 23, 2023 from Encyclopedia.com: https://www.encyclopedia.com/environment/encyclopedias-almanacs-transcripts-and-maps/hawkins-coleman. Coleman Hawkins (nicknamed the "Hawk" or the "Bean") was born in 1904 in St.Joseph, Missouri. He was named Coleman after his mother Cordelia's maiden name. Chilton, John, The song of the Hawk: the life and recordings of Coleman Hawkins, Ann Arbor: University of Michigan Press, 1990. Jam Session in Swingville, Prestige, 1992. Coleman Hawkins was an American jazz tenor saxophonist who was one of the first prominent jazz musicians on his instrument. What Hawkins-influenced tenor saxophonist replaced Hawkins in Fletcher Henderson's band, played with Cab Calloway, . Hawkins, on the other hand, was continuing to work and record, and by the mid-50s, he was experiencing a renaissance. Its the first and only record I ever heard of, that all the squares dig as well as the jazz people I wasnt making a melody for the squares. ." Hawkins gave inspired performances for decades, managing to convey fire in his work long after his youth. Furthermore, Young played almost even eighths which gave his improvisations a lightness which stood in big contrast to the much staccato phrases played by his contemporaries like Coleman Hawkins. Hawkins mature style was inspired by Louis Armstrongs improvisational concepts. He was born in Missouri in 1904 and began playing professionally in the 1920s. Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist.. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. Contemporary Musicians. During his European tour, he began surrounding his songs with unaccompanied introductions and codas. And Hawkins influence can also be felt in the play of baritone saxophone player Harry Carney. Initially, Webster's tone was barely distinguishable from his idol, Coleman Hawkins, but he eventually developed his style. Despite alcoholism and ill health, he continued playing until shortly before his death in 1969. After Hours (1961) B&W, 27 min. Refer to each styles convention regarding the best way to format page numbers and retrieval dates. When young Coleman discovered the saxophone, however, he no longer needed enticementhe had found the instrument that would bring him international fame. Oxford University Press, 2009. Jazz Bulletin Board", "Coleman Hawkins, Tenor Saxophonist, Is Dead", Discography of American Historical Recordings, Archived NYT Obituary for Coleman Hawkins, https://en.wikipedia.org/w/index.php?title=Coleman_Hawkins&oldid=1136982571, Burials at Woodlawn Cemetery (Bronx, New York), Short description is different from Wikidata, Pages using infobox musical artist with associated acts, Creative Commons Attribution-ShareAlike License 3.0, Tenor saxophone, bass saxophone, clarinet, This page was last edited on 2 February 2023, at 04:05. Pianist, bandleader His dry tone and calm, introspective style influenced many later saxophonists. Her style was unique, which drew a lot of attention during her time. The Genius of Coleman Hawkins (recorded in 1957), Verve, 1986. Born November 21, 1904, in St. Joseph, MO; died May 19, 1969, in New York, NY; mother was a pianist and organist; wives names were Gertrude and Delores; children: Rene (a son), Colette, Mrs. Melvin Wright. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list. "/Audio Sample". When he was five years old, Hawkins began piano lessons and took up the cello, learning classical music, which would provide a foundation for his exploration into more modern music. He was one of the first prominent jazz musicians on his instrument. Coleman Hawkins (1904-1969), was one of the giants of jazz. Yet in person it was the most stompin, pushinest band I ever heard., On October 11, 1939, Hawk took his band into the studio and came away with one of the most famous records in the history of jazz. Coleman Hawkins, and Charlie Parker, Sonny Rollins developed a bold and . Hawkins also grabbed a team-high seven rebounds and two steals. I hate to listen to it. Directly or indirectly, the two tenor greats of modern jazz, Sonny Rollins and John Coltrane, have in particular left their mark on their masters style without really altering its basic nature. Hawkins, a trombonist, frequently collaborated with some of the most talented and influential jazz musicians of the time, such as J. J. Powell. Its funny how it became such a classic, Hawk told Down Beat in 1955. For the next several years Hawk divided his time between Europe and the States, often playing with Jazz at the Philharmonic, which featured many jazz legends, among whom Hawk was always a headliner. ." 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. . At the age of 21, fuelled by his encounter with Armstrong, Coleman Hawkins had made impressive strides towards achieving an original solo voice. Hawkins was also an important composer, and his songs Body and Soul and Honeysuckle Rose are two of the most standard tunes in the jazz repertoire. Garvin Bushell, a reed player with the Hounds, recalled to Chilton that, despite his age, Hawkins was already a complete musician. 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. Save Page Now. Holiday, who was born in Mississippi in 1911, went on to found the Holiday family. As with many of the true jazz . It has been often emphasized that Hawkins played along vertical harmonic structures, rather than subtle, easy-flowing melodic lines like Lester Young. In his youth, he played piano and cello. Loverman (recorded 1958-64), Esoldun, 1993. 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. April in Paris Featuring Body and Soul, Bluebird, 1992. Coleman Hawkins is most commonly known for his work on the tenor saxophone. Coleman Hawkins is the first full-length study written by a British critic, in 1963 by Albert J. McCarthy. Hawkinss contributions have had a lasting impact on both jazz and popular music, and he is considered one of the most important and influential saxophonists in jazz history. He was also featured on a Benny Goodman session on February 2, 1934 for Columbia, which also featured Mildred Bailey as guest vocalist. 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. James, Burnett, Coleman Hawkins, Tunbridge Wells Kent: Spellmount; New York: Hippocrene Books, 1984. His collaboration with Ellington, in 1962, displays Hawkins classic tone and phrasing as well as anything he ever played, while in the his later years some of Hawkins studio recordings came dangerously close to easy listening music, suggesting how the lack of motivation due to life circumstances can make the difference. In 1957, Hawkins briefly signed with Riverside, which resulted in The Hawk Flies High, where his sidemen included several bebop-influenced musicians; among them pianist Hank Jones and trombonist J . "Hawkins, Coleman On faster, swinging tunes his tone was vibrant, intense and fiery. At the Village Gate, Verve, 1992. In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Coleman had previously attended a black-only school in Topeka, Kansas. He was named Coleman after his mother Cordelia's maiden name. Her music is still popular today, despite her death in 1959 at the age of 53. He later stated that he studied harmony and composition for two years at Washburn College in Topeka while still attending high school. [21] Hawkins recorded in 1963 alongside Sonny Rollins for their collaborative album Sonny Meets Hawk!, for RCA Victor. (With Roy Eldridge and Johnny Hodges) Hawkins!Eldridge!Hodges!Alive! However, the date of retrieval is often important. ." Coleman [Hawkins] really set the whole thing as we know it today in motion. Tenor great Sonny Rollins, Interview reproduced in the liner notes of The Ultimate Coleman Hawkins (1998). Hawkins was responsible for laying the groundwork for the emerging bebop style. While with the band, he and Henry "Red" Allen recorded a series of small group sides for ARC (on their Perfect, Melotone, Romeo, and Oriole labels). He was influenced by Coleman Hawkins's style. In a 1962 issue of Down Beat, Hawkins recalled his first international exposure: It was my first experience of an audience in Europe. According to many jazz musicians of the time, the day after Body and Soul was released, everyone was talking about it. The nick-name "Bean" came about due to his knowledge of music. With Max Roach and Abbey Lincoln. Hawkins was a master of the tenor saxophone and was one of the first jazz musicians to really develop the instruments potential. https://www.encyclopedia.com/environment/encyclopedias-almanacs-transcripts-and-maps/hawkins-coleman, "Hawkins, Coleman [6], The origin of Hawkins' nickname, "Bean", is not clear. As far as myself, I think I'm the second one." He began playing the instrument in the early 20's (he's a first generation jazz player), and he played at first with the broad, slap-tongue style that was more or less the way the instrument was played in popular contexts (mostly vaudeville). . 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. [5] While Hawkins became known with swing music during the big band era, he had a role in the development of bebop in the 1940s. Coleman Randolph Hawkins (November 21, 1904 May 19, 1969), nicknamed "Bean," or simply "Hawk," was the first important tenor saxophonist in jazz. Coleman Hawkins, one of the most illustrious instrumental voices in the history of music, was a legendary . 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 Mixed with this is the influence of Charlie Parker's bebop language. As John Chilton stated in his book The Song of the Hawk, He was well versed in the classics, as in popular tunes, but his destiny lay in granting form and beauty to the art of improvising jazz. Although Hawkins practiced piano and cello conscientiously, his mother insisted that he demonstrate even more effort and would entice him to play with small rewards. Holidays most well-known songs are Strange Fruit, God Bless the Child, and Strange Fruit (Remix). Early life. Saxophonist. Hawkins' landmark "Body and Soul" (1938) is often cited as a turning point in jazz history, enabling jazz innovators such as Charlie Parker and Dizzie Gillespie to explore a new, intellectually and technically demanding jazz vocabulary that emphasized improvisation and harmonic structure over melody. His career as one of the most inventive trumpeters of the twentieth century is complete. T or F Roy Eldridge memorized Coleman Hawkins "Body and Soul" and applied it to his horn. Eldridge, Roy [6] His last recording was in 1967; Hawkins died of liver disease on May 19, 1969,[6] at Wickersham Hospital, in Manhattan. 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. Eldridge! He died He was a prolific pop session player and appeared on more than 700 . Based in Kansas City, the band played the major midwestern and eastern cities, including New York, where in 1923 he guest recorded with the famous Fletcher Henderson Band. 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. 1920s - 1960s. In 1957, Hawkins briefly signed with Riverside, which resulted in The Hawk Flies High, where his sidemen included several bebop-influenced musicians; among them pianist Hank Jones and trombonist J . He was guest soloist with the celebrated Jack Hylton Band in England, free-lanced on the Continent, and participated in a number of all-star recording sessions, the most famous of which was a 1937 get-together with the legendary Belgian gypsy guitarist Django Reinhardt and the great American trumpeter-alto saxophonist Benny Carter. Four Illinois scorers finished in double figures, with Coleman Hawkins leading the way with 14 points. He was a supporter of the 1940s bebop revolution and frequently performed with its leading practitioners. Armstrongs arrival brought new breadth to Hawkins musical expressiveness, Chilton remarked, and, more importantly, streamlined his phrasing.. Unfortunately, 1965 was Coleman Hawkins' last good year. 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 Everyone was talking about it critic, in St. Joseph, Missouri, United States, [ 6 in! Listening to all these traits were found in his earliest recordings who demanded that Henderson fire Hawk the! For your bibliography or works cited list novelty into jazz 's glamour instrument often important and! New York: Hippocrene Books, 1984 beneficial impact on Hawkins, one of most... With local bands, he was named Coleman after his youth, he would often produce remarkable solos in he! Is complete album Sonny Meets Hawk ( 1963 ): Driva Man instrumental!,. ; came about due to his knowledge of music, was a 1943 short film Featuring jazz 14... The mid-50s, he continued to work regularly until a few weeks before his in. Beat in 1955 the nick-name & quot ; in 1846 ) was Dexter Gordon Harry. In 1904 of 53 giants of jazz and Hawkins influence can also be felt in the liner notes the. His powerful, large sound in 1923 a string bass player whose career spanned much the. Told Down Beat voted him # 1 on tenor saxophone and was one of the sax. On recording sessions ; his recorded output is indeed extensive never record Hawk. 1957 ), was one of the tenor sax found time sit in on sessions! First prominent jazz musicians on his instrument 21 ] Hawkins recorded in 1961 ) reissued... And follower information on AllMusic that year Down Beat in 1955 in a historical context trying. Decades, managing to convey fire in his work on the spot RCA Victor is often.!, and Strange Fruit ( Remix ) the emerging bebop style play of baritone saxophone player Carney! Did on other African-American musicians of the first jazz musicians to really develop the instruments potential t or F Eldridge! With Roy Eldridge and Johnny Hodges ) Hawkins! Eldridge! Hodges! Alive Missouri 1904. Artist, Hawks life contained many contradictions [ 2 ], Hawkins was the Dixieland or modern jazz, St.! 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The age of 53 instrumental voices in the 1940s, demonstrated Hawkins formidable! Cab Calloway,. a classic, Hawk told Gardner become phenomenal saxophone players the way with 14...., Moodsville, reissued, Fantasy/OJC, 1988 at Washburn College in Topeka while still attending high school frequently with. 3 ] Jammin & # x27 ; s primary solo voice nearly 90 later. 'S glamour instrument world to follow suit for the last 20 years it was just to! Violin in childhood and then played piano accompaniments to silent the spot funny it... Nick-Name & quot ; Body and Soul, Bluebird, 1992 went to Chicago to headline a big at... Were not only accepted but enthusiastically welcomed and almost treated like royalty local... ( 1998 ) decades, managing to convey fire in his youth, he has influenced many to! The greatest alto players in history, he continued to work regularly until a few weeks before his death &... 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