Disorder at the Border: The Music of Coleman Hawkins

Editorial Reviews

All Music Guide - Alex Henderson
It's hard to believe that the saxophone once took a back seat to the trumpet and the cornet as a jazz instrument, but in fact, that was very much the case in the 1890s, 1900s, and 1910s. The rise of Coleman "Bean" Hawkins in the '20s, however, changed that; thanks to the popularity and visibility that Hawkins enjoyed as the tenor star of Fletcher Henderson's orchestra, saxophonists became incredibly prominent in jazz -- and any jazz musician who is playing a saxophone today (be it tenor, alto, soprano, baritone, or bass) owes him a huge debt of gratitude. Bennie Wallace is well aware of that debt, which is why the tenor man salutes him with such enthusiasm on Disorder at...
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Editorial Reviews

All Music Guide - Alex Henderson
It's hard to believe that the saxophone once took a back seat to the trumpet and the cornet as a jazz instrument, but in fact, that was very much the case in the 1890s, 1900s, and 1910s. The rise of Coleman "Bean" Hawkins in the '20s, however, changed that; thanks to the popularity and visibility that Hawkins enjoyed as the tenor star of Fletcher Henderson's orchestra, saxophonists became incredibly prominent in jazz -- and any jazz musician who is playing a saxophone today (be it tenor, alto, soprano, baritone, or bass) owes him a huge debt of gratitude. Bennie Wallace is well aware of that debt, which is why the tenor man salutes him with such enthusiasm on Disorder at the Border: The Music of Coleman Hawkins. Recorded live at the Berlin JazzFest in Germany on November 6, 2004, this 65-minute CD celebrates what would have been Hawkins' 100th birthday had he lived to see November 21, 2004 (the seminal tenor man died in 1969 at the age of 64). Disorder at the Border finds Wallace leading a nonet that consists of six horn players (including trumpeter Terell Stafford and trombonist Ray Anderson) and a rhythm section, with guitarist Anthony Wilson (who isn't part of the nonet) handling the arrangements. Stylistically, Wallace is quite different from Hawkins; while Hawkins is remembered for swing, classic jazz, and bop, Wallace is identified with post-bop and the avant-garde. But Hawkins has long influenced Wallace's tone (along with Ben Webster, Eric Dolphy, and John Coltrane, among others), and Wallace's adoration of Hawkins' playing is evident on two Hawkins compositions ("Bean and the Boys" and the title track) and four other songs associated with him ("Body and Soul," "La Rosita," "Honeysuckle Rose," and "Joshua Fit the Battle of Jericho"). That isn't to say that Wallace actually goes out of his way to emulate Hawkins; Wallace never allows his own personality to become obscured, and the result is an excellent CD that reflects both Wallace's individuality and his love of the great tenor master.
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Product Details

  • Release Date: 1/30/2007
  • Label: Enja
  • UPC: 063757950622
  • Catalog Number: 9506
  • Sales rank: 216,279

Tracks

Disc 1
  1. 1 Disorder at the Border - Bennie Wallace & His Orchestra (11:36)
  2. 2 La Rosita - Bennie Wallace & His Orchestra (8:55)
  3. 3 Bean and the Boys - Bennie Wallace & His Orchestra (9:42)
  4. 4 Honeysuckle Rose - Bennie Wallace & His Orchestra (10:01)
  5. 5 Body and Soul - Bennie Wallace & His Orchestra (8:25)
  6. 6 Joshua Fit the Battle of Jericho - Bennie Wallace & His Orchestra (16:40)
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Album Credits

Performance Credits
Bennie Wallace Primary Artist, Indexed Contributor, Tenor Saxophone
Ray Anderson Trombone
Jesse Davis Alto Saxophone
Alvin Queen Drums
Brad Leali Alto Saxophone
Terell Stafford Trumpet
Danton Boller Bass
Donald Vega Piano
Bennie Wallace & His Orchestra Track Performer
Adam Schroeder Baritone Saxophone
Technical Credits
Bennie Wallace Arranger
Fats Waller Composer
Coleman Hawkins Composer
Bernie Grundman Mastering
Matthias Winckelmann Executive Producer
Anthony Wilson Arranger
Traditional Composer
Ine Ilg Artwork
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