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| Sonny Rollins' Finest Hour |
| Sonny Rollins |
| első megjelenés éve: 2002 |
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| (2002)
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CD |
Kérjen
árajánlatot! |
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| 1. | Hold 'em Joe
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| 2. | Who Cares
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| 3. | On The Sunny Side Of The Street
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| 4. | Manhattan
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| 5. | We Kiss In A Shadow
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| 6. | Doxy
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| 7. | Alfie's Theme
alternate version
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| 8. | Three Little Words
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| 9. | Scene Is Clean
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| 10. | You Are Too Beautiful
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| 11. | Body And Soul
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Jazz
Recorded between February 16, 1956 and May 9, 1966
All tracks have been digitally remastered.
Sonny Rollins (tenor saxophone)
Dizzy Gillespie (vocals, trumpet); Oliver Nelson (arranger, conductor, tenor saxophone); Phil Woods (alto saxophone); Bob Ashton, Sonny Stitt (tenor saxophone); Danny Bank (baritone saxophone, trombone); Clark Terry, Ernie Royal, Reunald Jones (trumpet); Nat Adderley (cornet); Billy Byers, Jimmy Cleveland, Frank Rehak (trombone); Ray Bryant, Dick Katz, John Lewis, Roger Kellaway, Richie Powell (piano); Rene Thomas, Kenny Burrell (guitar); Walter Booker, Henry Grimes, Tommy Bryant, Jimmy Garrison, Percy Heath, Walter Booker, George Morrow (bass); Mickey Roker, Roy Haynes, Charli Persip, Specs Wright, Elvin Jones, Connie Kay, Frankie Dunlop (drums)
Original recordings produced by Leonard Feather (tracks 2, 4, 6, 10, and 11), Norman Granz (track 3), Bob Shad (track 9), and Bob Thiele (tracks 1, 5, 7, and 8)
A master of the tenor saxophone and a formidable presence on the jazz scene for half a century, Sonny Rollins is a risk-taker who defies pigeonholing. This collection of Rollins's work from the Fifties and Sixties captures one of jazz's great individualists at tht top of his form. Included are collaborations with Clifford Brown and Max Roach, Dizzy Gillespie, and members of the Modern Jazz Quartet, as well as a breathtaking unaccompanied "Body and Soul."
Producers include: Leonard Feather, Norman Granz, Bob Shad, Bob Thiele.
Compilation producer: Ken Druker.
Includes liner notes by Peter Keepnews.
This is part of Verve's "Finest Hour" series.
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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