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| Sonny Rollins [Prestige] |
| Sonny Rollins |
| első megjelenés éve: 1972 |
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| (2007)
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CD |
| 4.809 Ft
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| 1. | St. Thomas
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| 2. | Strode Rode
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| 3. | The Way You Look Tonight
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| 4. | Tenor Madness
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| 5. | Paradox
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| 6. | Valse Hot
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| 7. | Solid
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| 8. | Count Your Blessings
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| 9. | Mambo Bounce
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| 10. | Newk's Fadeaway
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| 11. | With a Song in My Heart
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| 12. | No Moe
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| 13. | When Your Lover Has Gone
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Jazz / Hard Bop
Sonny Rollins - Sax (Tenor)
Art Blakey Drums
Art Taylor Drums
Bob Weinstock Supervisor
Clifford Brown Trumpet
Deb Sibony Package Design
Doug Watkins Bass
Elmo Hope Piano
George Morrow Bass
Jim Marshall Photography
Joe Tarantino Remastering
John Coltrane Sax (Tenor)
John G. Lewis Piano
Kenny Clarke Drums
Kenny Dorham Trumpet
Kenny Drew Piano
Max Roach Drums
Milt Jackson Vibraphone
Nat Hentoff Liner Notes
Paul Chambers Bass
Percy Heath Bass
Philly Joe Jones Drums
Ray Bryant Piano
Red Garland Piano
Rudy Van Gelder Engineer
Thelonious Monk Piano
Tommy Flanagan Piano
Tommy Potter Bass
Tony Lane Art Direction, Design
This budget compilation was originally released on double LP in 1972, as part of a series of compilations by Prestige in the 1970s. It was issued during Sonny Rollins' second period of self-imposed exile. The first occurred between 1959 and 1962, when Rollins recorded a dizzying number of sets under his own name, and as a featured guest with other notables. The latter retirement was between 1966-1972, after East Broadway Run Down for Impulse! and Next Album for Milestone. The 13 tunes collected here are completely remastered by Joe Tarantino. They were recorded between 1951 and 1956, and are not collected in chronological order. They feature Rollins in the roles of leader and collaborator in the presence of some of the greatest performers in the history of the music. "Tenor Madness" with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones is here (Sonny with all but the leader of the Miles Davis group at the time) from 1956, but so are three tracks from his debut as a leader in 1951, accompanied by Percy Heath, Kenny Drew, and Art Blakey. Rollins' one appearance with the Thelonious Monk Quartet is represented here, and rightfully so, by "The Way You Look Tonight," with a gorgeous head and lead by Sonny. His tone -- even at this early stage of the game -- was fully developed, and given that he was playing a standard, Monk plays it straighter by far as well. Elsewhere there are tracks from the saxophonist with the Modern Jazz Quartet from 1953 ("No Moe"), a pair with the Max Roach band with Clifford Brown ("Valse Hot" and "Count Your Blessings"), with Kenny Dorham in 1954 ("Solid"), with Elmo Hope, and with Kenny Drew as well. This is a fine early representation of what Rollins was up to at the very beginning, and cuts off just before the Contemporary Records period -- whose catalog Concord also owns now. Other than a multi-label box set that includes much of the '70s and '80s material, Rollins' mighty achievement as a young gun can be viewed as only a tiny part of the story. While to get a truly honest picture one would have to listen to everything -- the compilations of Rollins with Jim Hall on RCA's Bluebird imprint, the Milestone recordings (a label he has been with since 1972 and a part of the Prestige family), and his Impulse! recordings -- this is a truly wonderful start, and these sides are of such quality musically that no matter how long one has been listening to Rollins, they are a delight to hear in this context. This compilation now on compact disc by Concord is part of a series called The Architects of Jazz, and one can only hope that the new owners of the Prestige legacy will dig into their vaults for never-before-released-on-CD volumes by everyone from Jack McDuff (there couldn't be a better time than right now for him) to Sahib Shihab, as well as putting these overviews out there. ~ Thom Jurek, All Music Guide
Sonny Rollins
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Sep 07, 1930 in New York, NY
Genre: Jazz
Styles: Bop, Hard Bop, Mainstream Jazz, Post-Bop, World Fusion
Sonny Rollins will go down in history as not only the single most enduring tenor saxophonist of the bebop and hard bop era, but also the greatest contemporary jazz saxophonist of them all. His fluid and harmonically innovative ideas, effortless manner, and easily identifiable and accessible sound have influenced generations of performers, but have also fueled the notion that mainstream jazz music can be widely enjoyed, recognized, and proliferated. Born Theodore Walter Rollins in New York City on September 7, 1929, he had an older brother who played violin. At age nine he took up piano lessons but discontinued them, took up the alto saxophone in high school, and switched to tenor after high school, doing local engagements. In 1948 he recorded with vocalist Babs Gonzales, then Bud Powell and Fats Navarro, and his first composition, "Audubon," was recorded by J.J. Johnson. Soon thereafter, Rollins made the rounds quickly with groups led by Art Blakey, Tadd Dameron, Chicago drummer Ike Day, and Miles Davis in 1951, followed by his own recordings with Kenny Drew, Kenny Dorham, and Thelonious Monk.
In 1956 Rollins made his biggest move, joining the famous ensemble of Max Roach and Clifford Brown, then formed his own legendary pianoless trio with bassist Wilbur Ware or Donald Bailey and drummer Elvin Jones or Pete La Roca in 1957, doing recorded sessions at the Village Vanguard. Awards came from Down Beat and Playboy magazines, and recordings were done mainly for the Prestige and Riverside labels, but also for Verve, Blue Note, Columbia, and Contemporary Records, all coinciding with the steadily rising star of Rollins. Pivotal albums such as Tenor Madness (with John Coltrane), Saxophone Colossus (with longstanding partner Tommy Flanagan), and Way Out West (with Ray Brown and Shelly Manne), and collaborations with the Modern Jazz Quartet, Clark Terry, and Sonny Clark firmly established Rollins as a bona fide superstar. He also acquired the nickname "Newk" for his facial resemblance to Brooklyn/Los Angeles Dodgers pitcher Don Newcombe.
But between 1959 and 1961 he sought a less superficial, more spiritual path to the rat race society of the times, visiting Japan and India, studying yoga and Zen. He left the music business until 1962, when he returned with the groundbreaking and in many ways revolutionary recording The Bridge with guitarist Jim Hall for the RCA Victor/Bluebird label. Rollins struck up a working relationship with trumpeter Don Cherry; did a handful of innovative LPs for the RCA Victor, MGM/Metro Jazz, and Impulse! labels; did one record with his hero Coleman Hawkins; and left the scene again in 1968. By 1971 he came back with a renewed sense of vigor and pride, and put out a string of successful records for the Milestone label that bridged the gap between the contemporary and fusion jazz of the time, the most memorable being his live date from the 1974 Montreux Jazz Festival, The Cutting Edge. Merging jazz with calypso, light funk, and post-bop, the career of Rollins not only was revived, but thrived from then onward. He was a member of the touring Milestone Jazz Stars in 1978 with McCoy Tyner and Ron Carter, and gained momentum as a touring headliner and festival showstopper.
His finest Milestone recordings of the second half of his career include Easy Living, Don't Stop the Carnival, G-Man, Old Flames, Plus Three, Global Warming, This Is What I Do, and Without a Song: The 9/11 Concert. He has worked extensively with road and recording bands that have included such artists as electric bass guitarist Bob Cranshaw; trombonist Clifton Anderson; pianists Tommy Flanagan and Stephen Scott; keyboardist Mark Soskin; guitarists Bobby Broom and Jerome Harris; percussionist Kimati Dinizulu; and drummers Jack DeJohnette, Perry Wilson, Steve Jordan, and Al Foster. Rollins formed his own record label, Doxy, through which he issued the CD Sonny, Please in 2006. Well into his eighth decade of life, Rollins continued to perform worldwide. As a composer, he will always be known for three memorable melodies that have become standards and well-recognized tunes in the jazz canon -- "Oleo," "Airegin," and especially "St. Thomas."
---Michael G. Nastos, All Music Guide |
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