Chinatown, My Chinatown

"Chinatown, My Chinatown" is another one of those gems of the Swing era recommended by Schuller. Coleman Hawkins and the other members announce swing before its official birth here in 1930, performing this older standard with an undeniable rhythmic pulse. One can see how a Benny Goodman would not exist if it were not for Fletcher Henderson. 

Queer Notions

"Queer Notions" is one of the compositions of the swing era identified by Gunther Schuller as avant-garde or experimental for the era. It does indeed sound a few decades ahead of its time, almost as if it were a piece from the 1960s avant-garde movement. Clearly, Coleman Hawkins was a visionary for the period (early 1930s), as harmonically the piece does sound too "out there" for most of the bands of the decade. Unfortunately for us, the recording technology of the era meant the solo of Hawkins could not be stretched out. 

Body and Soul

 Esperanza Spalding

Coleman Hawkins here did a version of the jazz standard, "Body and Soul," that revolutionized jazz and interpretations of the song. Ken Burns Jazz tries to give this seminal recording import as being one of the earliest "pre-bop" jazz records. Regardless of how influential it was for the creation of bebop, the next evolution of jazz after swing, it is one of those timeless melodies and features brilliant blowing from Hawkins.

Billie Holiday here does a beautiful vocal rendition. "My days have grown so lonely, for you I cry..." Another beautiful moment: "I'm all for you body and soul." She also does a great live recording from a show in 1945 that's worth listening hearing. "I spend my days in longing, I'm wondering why it's me you're longing..." Also, check out her 1957 recording from her later days, when her voice was losing itself. She is accompanied by an accomplished guitarist, however.

John Coltrane's rendition of the song, featuring McCoy Tyner's skeletal characteristic piano, makes this my favorite version. Tyner's piano style always gets to me, and hearing Coltrane's solos is another delight. He does not take the song into a different direction, except for a more modern (1960s modern, that is) update. Tyner's unique block chord style, however, does give the enchanting song some unique aspects, as well as his moving solos.

Esperanza Spalding's Spanish version here is beautiful, but I can do without the scatting. She does a great job playing the song in 5/4 time but remains in the original key, soaring to great heights with her mesmerizing voice.