Originally released in 1961 this newly remastered edition of tenor sax player Coleman Hawkins’ The Hawk Relaxes is released as part of the new Moodsville Series. Featuring Ronnell Bright (piano), Kenny Burrell (guitar), Ron Carter (bass), and Andrew Cyrille (drums) the album is regarded as one of the best albums from Hawkins’ latter period.

The album opens with the samba standard title, "Desafinado," which Hawkins floats through, gliding along the melody playfully, turning and caressing it, making it his own. Throughout the album, Hawkins moves easily through the tender parts of the samba tunes, yet occasionally flashes glimpses of his trademark tenor aggresssion, never allowing the listener to gorget whose in charge. Guitar duo Barry Galbraith and Howard Collins propel and support the tunes, and even take the occasional solo such as on "O Pato (The Duck)." Pianist Tommy Flanagan gives up the ivories for the claves, and proves quite adept. Flanagan, along with percussionist Willie Rodriguez, drummer Eddie Locke and bassist Major Holly from a rhythm syndicate that would hold its own on any corner in Rio de Janeiro.

Coleman Hawkins and Confrères is an album by saxophonist Coleman Hawkins which was recorded in 1958 (with one track from 1957) and released on the Verve label.

Genius may not be the right word, but "brilliance" certainly fits. At the age of 51 in 1957, Hawkins had already been on records for 35 years and had been one of the leading tenors for nearly that long. This date matches him with the Oscar Peterson Trio (plus drummer Alvin Stoller) for a fine run-through on standards. Hawk plays quite well, although the excitement level does not reach the heights of his sessions with trumpeter Roy Eldridge.

"The Complete 1957 Riverside Recordings" is a 2006 release of Thelonious Monk and John Coltrane's work for the Riverside Records label in 1957, with two tracks previously unreleased in any form. In 2017 it was relaunched for the new vinyl reissue of Craft Recordings imprint (Concord Music Group), and this digital release.

This live concert album, recorded at two packed shows at Carnegie Hall in November 1956, contains the biographical narration that accompanied the music during the concerts, recited by Gilbert Millstein of The New York Times. Billie Holiday is backed by the Chico Hamilton Quintet featuring guitarist Kenny Burrell and two horn sections including Coleman Hawkins and Al Cohn on tenor sax and Roy Eldridge and Buck Clayton on trumpet.

Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also some amazing interactions from the assembled ensemble.

As critic Nat Hentoff makes clear, Coleman Hawkins and Ben Webster were larger than life. Formidable, even forbidding presences, they revealed a depth of feeling in their playing that spoke of their vast life experiences, as great writers or painters speak through their work.

This album capture the momentous meeting of four great iconoclastic jazz figures. It was a historic, magical moment when Coleman Hawkins, Bud Powell, Oscar Pettiford and Kenny Clarke came together on the stage of the Grugahalie in Essen on the evening of April 2nd, 1960 and played for an Essen Jazz Festival audience of some 8,000 people. That audience was uniquely privileged because it was to witness the performance of some most inspirational spontaneous music from a quartet of jazz masters who were destined never to play together again. Oscar Pettiford, one of the prime emancipators of the bass, died later that year; Bud Powell went to that great 52nd Street in the sky six years later. And three years after that, Coleman Hawkins was dead. A most precious recording, then - and it underscores yet again the gratitude that all jazz lovers owe to the people who ensure that such auspicious musical encounters are preserved on record.

Kenny Burrell performs with Coleman Hawkins and his rhythm section. Burrell is in optimum form on all the numbers and in their varied expressions. The leading neo-bop guitarist, he is capable of a far reaching range of expression. His chords can be as lush as, say Johnny Smith’s can, but his lines are always rhythmically spirited by a very powerful jazz energy and blues-in-formed charge that I think no contemporary guitarist can equal.

2-3-4 is an album by American jazz drummer Shelly Manne featuring performances recorded in 1962 for the Impulse! label. 2-3-4 was not a typical album for Manne. Then associated primarily with West Coast jazz, he flew from Los Angeles to New York City on February 5, 1962, by arrangement with producer Bob Thiele, to be reunited with pioneering tenor saxophonist Coleman Hawkins and pianist Hank Jones, with both of whom he had recorded at different times in the 1940s. In an unusual session lasting through the wee hours of the morning, he ended by recording one tune as a duet with Hawkins, who for the first time in his career was recorded also playing the piano.

Recorded over three sessions in 1957, when Thelonious Monk was leading a band that included John Coltrane, this historic meeting of two legends was not released until 1961 due to contractual issues. By that time Coltrane was a household name, leading his own band, at least as famous or even more so than Monk. This album was inducted into the Grammy Hall of Fame in 2007.

Guitarist Kenny Burrell recorded this session in 1962 with guest Coleman Hawkins sitting in on tenor sax on half the songs, the third time they recorded together. Pianist Tommy Flanagan is among the stellar musicians who worked with Burrell on this collection of songs that have been called "sad, contemplative and at times gentle" by All About Jazz.

This unique 1958 recording is a collaboration between Coleman Hawkins and the Oscar Peterson Trio. Hawkins's voluminous, supple tenor sax sound, which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard on Honey Flower.

The original "four tenors" - tenor saxophonists, that is. Eddie "Lockjaw" Davis invited three titan tenor sax players to join him and his quartet in the studio for Very Saxy for what amounted to a jam session. The Penguin Guide to Jazz included "Very Saxy" on its list of suggestions for a core collection of essential jazz albums.