I think the main hindrance with Hawkins when he played bop (or near-bop!) in the mid-1940s was his slight rhythmic stiffness (he loosened up later on). But I very much like his rhapsodic approach and his huge, emotive tone.
In many ways I think “Body and Soul” was the apex of Hawkins’ career. It’s as if, after having just returned from Europe, he had to re-establish his authority, as if to say “I’m back and I’m still THE tenor man”. I’m sure it wasn’t exactly like that, but you know what I mean! Nothing he did afterwards - however great - could have quite the same effect on other musicians.
And I agree with you about the Calloways – Gillespie was already way ahead.