s the natural choice for a lead tenor. Hawkins continued to be a member of Hendersons band until March of 1934, gaining world renown and appearing on numerous recordings. His first memorable recorded solo Dicty Blues (1923) shows Hawkins emerging authoritative style, big sound, and fast vibrato.(Kernfeld, 505) When Hawkins realized that he was as much a draw to see Hendersons band as Fletcher himself, Bean knew it was time to move on. After a tour of Great Britain fell through with the Henderson band in early 34, Bean contacted English impresario and band leader Jack Hylton about touring with local musicians on his own. Hylton took to the idea and invited Hawkins to be a guest in his and Mrs. Jack Hyltons bands. Hawkins ended up staying in Europe until 1939, performing with the Ramblers in early 35 in The Hague; with the Berrys in Laren, Paris, and Zurich; and recorded with many other ensembles pieced together for studio sessions. Probably the most famous of those sessions, Bean was featured with Django Reinhardt and Benny Carter in Paris, 28 April 1937. On this recording Hawk is said to have played with fervor and rhythmic drive . . . beginning his solo on Crazy Rhythm with repeated riffs.(Kernfeld, 505) Returning to England on March 11, 1939, Hawkins continued his tour of the country, now sponsored by the Selmer music company, with local musicians at each performance. Upon the end of his tour, Coleman Hawkins returned to New York in July of 1939. He wasted little time after returning to the U.S. forming a nine-piece band to open at Kellys Stable on October 5th of that year. His musical and commercial success to the masses came a few days later when he recorded a two chorus solo on his tune Body and Soul, a momentous move that reinstated his importance in the jazz scene.(Sadie, 322) This recording got him voted best tenor saxophonist by readers of Down Beat magazine in the end of 1939. Hawkins then went on to fo...
