On May 17, the Craft Recordings Contemporary Records Acoustic Sounds series continues with an 180 gram pressing of For Real! by pianist-composer-bandleader-survivor Hampton Hawes. A superb mix of original material and standards, the LP’s six songs undeniably extend from bebop and yet are wholly in tune with their year of origin 1958, as an unperturbed West Coast ambience deepens the vibes. Cut from the original master tapes by Bernie Grundman and released in a tip-on sleeve, the set has never looked or sounded better.
Saxophonists are notorious thunder stealers, so it’s unsurprising that most of the records Hampton Hawes cut as a leader are trio sessions. His first three, all released by Contemporary in 1955–‘56, are trios with bassist Red Mitchell and drummer Chuck Thompson. These are The Hampton Hawes Trio, This Is Hampton Hawes, and Everybody Likes Hampton Hawes.
But the man did branch out a bit, following up the above albums with three more for Contemporary from a quartet that featured Mitchell, drummer Buzz Freeman and guitarist Jim Hall, all titled All Night Session!. The contents of those LPs, essentially studio jam sessions, were recorded in 1956 but not released until ’58 as three separate volumes that shared the same photograph of a suave and smiling Hawes.
Adding Hall broadened the sound with little risk of the pianist being overshadowed. Another quartet record, Four!, was recorded and released in 1958, this one replacing Hall with guitarist Barney Kessel and Freeman with drummer Shelly Manne. If lacking the loose spontaneity of the recordings with Hall, Four! benefits from a killer band as Hawes was entering his prime.
Hawes’ ability to not just comfortably hang with but thrive alongside the vibrant and decidedly more upfront technique of Kessel might’ve helped ease any doubts he may have had over forming a new quartet with tenor saxophonist Harold Land in the mix; bassist Scott LaFaro and drummer Frank Butler complete the group. With this lineup, For Real! was recorded in 1958 but not released until ’61.
Two of the record’s selections, “Numbers Game” and the bluesy title track, were co-written by Hawes and Land, establishing a rapport that’s easily discernible as the six tracks unwind. The opener, “Hip” was composed by Hawes alone; it exudes a bit of West Coast flair in its theme, but Land’s introductory solo is full of poise and energy appropriate for 1958 as Hawes quickly swings in with a solo of his own, grooving but cerebral. “Hip” also highlights LaFaro’s playing as bold but supple; hearing him prior to his celebrated work with Bill Evans is a treat. Butler is simply a master of expressive fills as he keeps exquisite time.
A downshift into standard territory follows with “Wrap Your Troubles in Dreams.” It’s a maneuver that’s par for the post-bop course (some will argue predictable), though Land’s solo points to a lush erudition that hit its peak in the 1970s while maintaining robust currents in his delivery. Comping tastefully behind him, Hawe’s subsequent solo is full of expressive verve with a touch of blues.
“Crazeology,” an up-tempo number by trumpeter Benny Harris, reinforces that, like Land, Hawes’ roots are in bebop, the pianist having played with Dexter Gordon, Wardell Grey, Howard McGhee, and Charlie Parker. Flowing with expert panache, everyone gets to strut their stuff; LaFaro looms large in “Crazeology” as Hawes solos, and then the script is seamlessly flipped, with the pianist comping behind the young bassist. Butler shows his range late.
Land and Hawes effectively build upon Harris’ bop era compositional approach in their own “Numbers Game,” stretching out productively in their solos as Butler’s versatility is once again prominently on display. Next is “For Real,” where it’s LaFaro who’s immediately out front in a cut of successive highlights that extends to over 11 minutes. Of particular note is Hawes’ solo in the track’s midsection, his best on the record.
For Real! closes with “I Love You,” the standard by Cole Porter receiving a lively bop transfusion. Altogether, the set reinforces that Hawes was a consummate instrumentalist and able leader if not a formal innovator. Shortly after the album’s recording, he was arrested on heroin charges that resulted in a ten-year prison sentence. He served five before being pardoned by President John F. Kennedy in 1963.
There’s no telling how Hawes’ career would’ve panned out had he gotten clean and avoided arrest, but that he returned to music and rebuilt a solid career is impressive, There’s also Raise up off Me, Hawes’ highly regarded memoir to consider. In 1961, the belated release of For Real! was surely motivated in part by LaFaro’s untimely death by car accident. In 2024, its reissue is directly focused upon the enduring excellence of Hampton Hawes.
GRADED ON A CURVE:
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