This session is prime-time Hawkins and, despite his not receiving co-equal billing, Lockjaw Davis as well. A player who can be counted on to dominate any battle of tenor giants, "Jaws" is certainly the most individualistic and identifiable tenor player to come out of the Basie band since Lester Young. At the same time he's also as remarkable for his "lack" of influence on succeeding generations of tenor players as Prez was for establishing a whole school of saxophone players (but not enrolling Davis, who can sound more Hawk-like than Hawk himself).

Davis plays such a strong hand that he can frequently overwhelm his accompaniment. There's a later recording with Davis alone in the company of the delicate, nuanced piano of Tommy Flanagan, who's also the pianist on "Night Hawk." The later date is a complete mismatch, making Jaws sound like the Incredible Hulk crashing a tea party hosted by the Queen. Not only does Jaws possess the fastest tongue, the most extended range, and the most powerfully percussive sound on the instrument, but his tones are often "pitch-indistinct vocalizations" rather than clearly defined tones in the Western scale. His is a potent sound requiring an equally bold and stout ally.

Hawkins is the perfect complement--coming close to matching Jaws' forcefulness while filtering, or mediating, all of the testosterone through his inherent melodic sensibilities and lyric temperament. The title tune is a sheer delight, with Hawk and Jaws conversing like Ray Nitzschke and Dick Butkus trading stories about their days as all-pro linebackers. On "There Is No Greater Love" Jaws launches one of his most memorable tirades on record--doubling the time of a tempo that's already up while unleashing storms of note flurries that whirl about, building up steam until they somehow ascend and evaporate into the upper stratosphere. Hawkins manages to follow suit (up to a point) while keeping the proceedings grounded melodically and harmonically. "In a Mellotone" uses a set of busy, alternate harmonic changes that, quite frankly, would have best been saved for a meeting of Hawk and the President.

Through it all, Flanagan maintains his characteristic composure, carefully shaping each melodic phrase with his dynamic contouring and distinctive piano touch, not once giving into the temptation to stir up the embers. Indeed, it's doubtful there's a more unflappable pianist in the history of the music.

This is a great session that showcases what a powerful tenorman the Hawk was in his day. Lockjaw chimes in perfectly giving a great performance of his own. The tunes swing with sweet emotion and conviction. "The Hawk Flies High" and "...Encounters Ben Webster" are worth owning too. I love Coltrane, but The Hawk had such a full, smooth and rich sound that he is my favorite tenor sax master, and Night Hawk demonstrates this well. This is well worth owning and hard to find outside of online shopping.

In case you haven't noticed, the jazzbo2 review is not for this album but for "Hawk Flies High". "Night Hawk" features Coleman Hawkins on the left channel and protege Eddie "Lockjaw" Davis on the right. Jaws also has a big fat tenor sound, and the stereo effect is stunning. The usual high quality Fantasy remastering job. I have many Hawk recordings, but this is the one that raises the hair on the back of my neck. Consistently solid groove throughout.

I can't tell you how often I've listened to this CD. It's stunning. Hawk swings like mad and the support is astounding: JJ Johnson, Hank Jones, Jo Jones, Oscar Pettiford. (the arrangements are delightful, especially "Blue Lights"). Smoke filled room-50's swing at its pinnacle. A perfect CD for an evening, in the the dark, with that special someone...My only wish is that it wasn't only 39 minutes. But, usually, I just put the CD player on continuous play and groove...