A time stamp can’t actually be put on the birth of jazz. It’s such a compendium of music and American history that any guess as to when the genre started would just be an approximation or an obtuse idea. The answer as to when all of this started doesn’t actually matter, but what does are the laundry list of innovators and primed musicians. Over its career, however long it’s been, jazz has gifted the American populace with some of the country’s most famous people. Louis Armstrong, obviously, comes to mind. But so does John Coltrane, Miles Davis and yes, even the entirety of the Marsalis family. But without a few other key figures along the way, none of those folks would have wound up where they did.

Beginning his career during the ‘20s, Coleman Hawkins found a place in Fletcher Henderson’s band – Armstrong was soon to join as well. And with those two important figures in place, a new approach to playing would be birthed. The soloing wasn’t exactly what would come as a result of the bop revolution a few decades on, but between the two, it was clear that jazz had become something more than just dance music.

After working as a sideman amidst such an illustrious crew allowed for Hawkins to go on to lead a huge number of dates during the ‘40s and ‘50s. He’s not recalled in popular culture the way that Armstrong is now, but if you happen to play the saxophone, you surely know who you’re indebted to.

By 1955 and Hawkins’ The Hawk Flies High the band leader hadn’t exactly picked up the bop aesthetic that was being toted around. Instead, he remained indebted to a more traditional balladry and blues based music. That’s not to say, though, that Hawkins was lagging behind his peers. And in fact, the sax player called upon a crew of rather young bop players – including Hank Jones, Oscar Pettiford, Idrees Sulieman and J.J. Johnson – to accompany him on this particular date.

Comprising only a scant six songs, The Hawk Flies High still feels as if it covers a good deal of ground. Of course, Hawkins finds a good many features here, but it would seem that the accompaniment spurs him on. It’s still not bop – completely – but listeners get a hint.

With Sulieman on trumpet, “Blue Lights” moves a bit past the staid fair that its title might suggest. Of course, the composition is such that the solos aren’t all too drawn out, but from that first burst of trumpet and Johnson’s trombone following suite, listeners should sense the change that was still working itself out in the jazz community.

Hawkins can’t and won’t be thought of as a figure that ushered in a new age. Perhaps he should be. But if that was the case, it wouldn’t have all too much to do with bop despite the fact that his ensembles ostensibly served as a training ground. It’s all just good music – a beautiful stepping stone. But one that folks should take note of.