Sonny ROLLINS Quintet - Live in Milan '82

Sonny ROLLINS Quintet - Live in Milan '82
Recorded Live at Teatro Ciak, Milan, Italy
Bootleg
Thx To *riccardo* :)

Jazz

Sonny Rollins-Tenor Sax
Yoshiaki Masuo, Bobby Broom- Guitars
Lincoln Goines- Electric Bass
Tommy Campbell- Drums

01. Best Wishes (26:42)
02. Coconut Bread (10:22)
03. Unknown (09:23)
04. Unknown (29:06)
05. Global Warming (09:11)
06. Don't Stop The Carnival (14:09)
07. McGhee (17:35)
08. Unknown (03:39)
09. Unknown (09:49)
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Sonny ROLLINS - The Contemporary Leaders Plus 1958

Sonny ROLLINS - The Contemporary Leaders Plus 1958
1975 Issue.LAX 3021

Jazz

While the personnel on this release were leaders in their own right and contemporaries of Rollins in 1958, the title refers to the fact that the musicians were all recording with their own respective groups for the west coast Contemporary label at the time this album was made. The material is essentially standards, favorites of either the swing or the bop era. "How High The Moon" gets a trio treatment, with Rollins taking his time over the taut accompaniment provided by Kessel and Vinnegar; their bass and guitar given room to stretch out as well.

Hampton Hawes' opening on "Alone Together" is lithe, muscular and spare. Rollins doesn't even enter to solo until after choruses by Hawes and Kessell, giving things a friendly, jam-session atmosphere. Manne lays out on "In The Chapel In The Moonlight," on which the tenorist waxes lyrical to the sure-footed, understated accompaniment of piano, bass and guitar. The presence of these layered, intriguing arrangements makes this record more than a simple all-star blowing date.
**
The last of the classic Sonny Rollins albums prior to his unexpected three-year retirement features the great tenor with pianist Hampton Hawes, guitarist Barney Kessell bassist Leroy Vinnegar and drummer Shelly Manne (all bandleaders for Contemporary Records during this era) on an unusual but inspired list of standards. Rollins creates explorative and often witty improvisations on such songs as Rock-A-Bye Your Baby with a Dixie Melody, You, In the Chapel in the Moonlight and roaring versions of I've Found a New Baby and The Song Is You. Great music.
By Scott Yanow. AMG.
**
Sonny Rollins- (Tenor sax)
Hampton Hawes- (Piano)
Barney Kessel- (Guitar)
Leroy Vinnegar- (Bass)
Shelly Manne- (Drums)
Victor Feldman- (vibes on 4, 5)
**
A1. I've Told Ev'ry Little Star  5:24
A2. Rock-A-Bye Your Baby With a Dixie Melody  4:50
A3. How High the Moon  7:45
A4. You  4:14
B1. I've Found a New Baby   3:35
B2. Alone Together  5:50
B3. In the Chapel in the Moonlight  6:40
B4. The Song Is You   6:10
**

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Sonny ROLLINS - Jazz à Juan 2005

Sonny ROLLINS - Jazz à Juan 2005
Bootleg
49Jazz Fest.Juan Les Pins,Antibes France
22th July 2005

Jazz

Sonny Rollins- Tenor Sax
Clifton Anderson- Trombon
Bobby Broom- Guitar
Bob Cranshaw- Bass
Steve Jordan- Drums
Kimati Dinizulu- Perc.
**
01.Global Warming 14:51
02.Someday I’ll Find You 6:10
03.Salvador 7:08
04.Don’t Stop the Carnival 6:29
05.A Nightingale Sang in Berkeley Square 6:46
06.Tenor Madness 8:24
**

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Sonny ROLLINS and Coleman HAWKINS - Sonny Meets Hawk! 1963

Sonny ROLLINS and Coleman HAWKINS - Sonny Meets Hawk! 1963

Jazz

Sonny Rollins is considered by many to be the best, or at least the most influential, modern-jazz tenor saxophonist. His elder Coleman Hawkins is widely acknowledged as the earliest innovator of the instrument, making him somewhat of a father figure to reed players; certainly, he was Rollins's biggest idol.

On this 1963 session, Rollins and Hawkins teamed up in an interesting milieu. Hawkins sits in with Rollins's band, and, surprisingly, he plays in a bop-oriented mode. On the other hand, Rollins--in an attempt to further highlight the difference between the two horns--plays in an even more contemporary style. In fact, on "All the Things You Are" and "Lover Man," Rollins occasionally falls into the realm of atonality. As always, Hawkins's playing is fluid, graceful, and polished, while Rollins's sax work is brash, experimental, and angular. However, these obvious differences make SONNY MEETS HAWK! an extremely fascinating listen.
From CD Universe.
**
A startling meeting of two generations of tenor sax, recorded during one of Sonny Rollins' best periods on record, but featuring some even more amazing work from Coleman Hawkins! The album's proof that in his later years, Hawkins was a modernist who could match wits with the best players of the 60s -- and blowing here with Rollins, there's an equal amount of freshness and intensity shared by both players, old and young. The backing group is equally modern too -- with Paul Bley on piano, Henry Grimes on bass, and Roy McCurdy on drums -- who together spur both Hawk and Sonny into solos that never fail to amaze! Tracks include "At McKies", "All The Things You Are", "Summertime", and "Yesterdays".
From Dusty Groove.
**
Paul Bley- Piano
Bob Cranshaw- Bass (Tracks: A1, A2, B2)
Henry Grimes- Bass (Tracks: A3, B1, B3)
Coleman Hawkins- Tenor Sax
Sonny Rollins- Tenor Sax
Roy McCurdy- Drums
**
A1. Yesterdays 5:12
A2. All The Things You Are 9:34
A3. Summertime 5:56
B1. Just Friends 4:37
B2. Lover Man 8:52
B3. At McKies' 7:01
**
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Sonny ROLLINS - Sonny Rollins and The Big Brass 1958

Sonny ROLLINS - Sonny Rollins and The Big Brass 1958

Jazz

Big Brass is an appropiate name for the large ensemble arranged and conducted by Ernie Wilkins that accompanies the huge sound of Sonny Rollins. The energy within the leader's gospel-flavored shout "Grand Street" is considerable, while a swinging but no less powerful version of George & Ira Gershwin's "Who Cares" features a choice solo by guitarist Rene Thomas. Also added to this compilation are trio recordings with bassist Henry Grimes and drummer Specs Wright, including a brilliant leisurely stroll through "Manhattan," along with Rollins' tour de force unaccompanied tenor sax on "Body and Soul."
by Ken Dryden. AMG.

Sonny Rollins- (Tenor Sax)
Reunald Jones, Ernie Royal, Clark Terry- (Trumpet)
Nat Adderley- (Cornet)
Jimmy Cleveland, Billy Byers, Frank Rehak- (Trombone)
Rene Thomas- (Guitar)
Don Butterfield- (Tuba)
Dick Katz, John Lewis- (Piano)
Henry Grimes, Percy Heath- (Bass)
Connie Kay, Specs Wright, Roy Haynes- (Drums)
Ernie Wilkins- (Arranger, Conductor)
**
A1 Grand Street 
A2 Far Out East 
A3 Who Cares? 
A4 Love Is a Simple Thing 

B1 What's My Name? 
B2 If You Were the Only Girl in the World 
B3 Manhattan 
B4 Body and Soul
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Sonny ROLLINS - Freedom Suite 1958

Sonny ROLLINS - Freedom Suite 1958
Recorded in New York City on February 11 (tracks 2-6),
and March 7 (track 1), 1958

Jazz

Tenor saxophonist Sonny Rollins' last Riverside album was reissued on this Original Jazz Classics CD. Jamming in a pianoless trio with bassist Oscar Pettiford and drummer Max Roach, Rollins is very creative, stretching out on his lengthy "Freedom Suite," clearly enjoying investigating the obscure Noel Coward melody "Someday I'll Find You," turning the show tune "Till There Was You" into jazz, and finding beauty in "Shadow Waltz" and "Will You Still Be Mine?" A near masterpiece.
Scott Yanow. All Music Guide
**
Oscar Pettiford- Bass
Max Roach- Drums
Sonny Rollins- Teno Sax
**
A1. The Freedom Suite 19:17

B1. Someday I'll Find You 4:37
B2. Will You Still Be Mine? 2:55
B3. Till There Was You (Take 3) 4:55
B4. Till There Was You (Take 4) 5:00
B5. Shadow Waltz 4:11
**
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Sonny ROLLINS - Alfie 1966

Sonny ROLLINS - Alfie 1966

Jazz

While Sonny Rollins's saxophone solos epitomized his best free-flowing improvisational ideas, he let the story of Michael Caine's philandering character determine the mood of this 1966 soundtrack. But knowing the movie's plot is not essential to hearing how this disc is a unique part of Rollins's oeuvre. A long-standing individualist, Rollins worked with director Lewis Gilbert to devise a narrative, and then conductor Oliver Nelson wrote arrangements based on his charts. Rollins is famous for his small groups, but here he leads an 11-piece band and gives considerable space to guitarist Kenny Burrell. The collaboration embellishes Rollins's playing, which was as strong in the mid-'60s as in his more celebrated years. And "Alfie's Theme" has become an unlikely jazz standard.
By Aaron Cohen.
**
Sonny Rollins- (Tenor Sax);
Oliver Nelson- (Arranger, Tenor Sax);
Phil Woods- (Alto Sax);
Bob Ashton- (Tenor Sax);
Danny Bank- (Baritone Sax);
Jimmy Cleveland, J.J. Johnson- (Trombone);
Roger Kellaway- (Piano);
Kenny Burrell- (Guitar);
Walter Booker- (Bass);
Frankie Dunlop- (Drums).
**
A1. Alfie's Theme  10:25
A2. He's Younger Than You  5:07

B1. Street Runner with Child  4:00
B2. Transition Theme for Minor Blues or Little Malcolm Loves His Dad  5:50
B3. On Impulse  5:07
B4. Alfie's Theme Differently  3:44
**
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Sonny ROLLINS - Swingin' For Bumsy 2005

Sonny ROLLINS - Swingin' For Bumsy 2005
Everything about these 4 cd´s, you will find in Covers & Info.

Jazz

Sonny Rollins has remained one of the true jazz giants, ranking up there with Coleman Hawkins, Lester Young, and John Coltrane as one of the all-time great tenor saxophonists. He started on piano, took up the alto, and then permanently switched to tenor in 1946. After making his recording debut with Babs Gonzales in 1949, Rollins made a major impact on dates with J.J. Johnson and Bud Powell the same year; the latter session also matched him with Fats Navarro. Rollins' abilities were obvious to the jazz world from the start and he started recording with Miles Davis in 1951 and with Thelonious Monk two years later. After a period out of music, Rollins joined the Max Roach-Clifford Brown quintet in late 1955, continuing after Brownie's death until 1957. From then on, he was always a leader.
Sonny Rollins' series of brilliant recordings for Prestige, Blue Note, Contemporary, and Riverside in the 1950s found him in peak form and he was acclaimed the top tenor saxophonist of the time, at least until John Coltrane rose to prominence. Therefore, Rollins' decision to drop out of music from 1959-1961 shocked the jazz world. When he came back in 1961 with a quartet featuring Jim Hall, his style was largely unchanged but he soon became a much freer player who was well aware of Ornette Coleman's innovations; he even used Ornette's cornetist Don Cherry for a time. Although his playing was a bit more eccentric than previously, Rollins was a major force until, in 1968, he again decided to retire.

Upon his return in 1971, Sonny Rollins was more open to the influence of R&B rhythms and pop music, and his recordings since then have not always been essential (often using sidemen not up to his level) but Rollins remains a very vital soloist. His skill at turning unlikely material into jazz, his unaccompanied flights, and his rhythmic freedom and tonal distortions have kept Sonny Rollins one of the masters of jazz. He has literally dozens of superior recordings available.
By Scott Yanow, All Music Guide.
**
Disc 1

01. I Know     
02. Dig     
03. It's Only A Papermoon     
04. Denial     
05. Out Of The Blue     
06. Conception     
07. My Old Flame     
08. Scoops     
09. With A Song In My Heart
*    
Disc 2

01. Bluing
02. Newk's Fadeaway
03. Time On My Hands
04. This Love Of Mine
05. Shadrack
06. On A Slow Boat To China
07. Mambo Bounce
08. The Serpent's Tooth (Take 1)
09. The Serpent's Tooth (Take 2)
10. 'Round Midnight
*    
Disc 3

01. Compulsion
02. Almost Like Being In Love
03. In A Sentimental Mood
04. No Moe
05. The Stopper
06. Friday The 13th
07. Let's Call This
08. Think Of One (Take 2)
09. Think Of One (Take 1)
*    
Disc 4

01. Soft Shoe     
02. Airegin
03. Oleo
04. Doxy
05. Swingin' For Bumsy
06. Solid
07. Moving Out
08. Silk 'N' Satin
09. There Are Such Things
10. The Way You Look Tonight
**
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Sonny ROLLINS - Sonny Please 2006

Sonny ROLLINS - Sonny Please 2006
Label: Emarcy / Umgd / Doxy
Recorded:December 20, 2005 - March, 2006
New York City, Stamford, CT

Jazz

Theodore Walter "Sonny" Rollins (New York, 1930)
Now in his mid-70s, Sonny Rollins plays with undiminished passion on this, his first new studio recordings in five years. Sonny, Please also marks a turning point in Rollins's life: his wife died in 2004, and he soon thereafter departed Milestone Records to set up his own Doxy imprint, ending one of the longest artist-label relationships in jazz. Playing selections that date back to his youth (such as Noël Coward's "Someday I'll Find You," on which he rolls out melodic lines as if from a beautiful and endless spool) as well as his own originals, the set flows with the compelling vigor of a giant who carries himself with the utmost humility. A powerful soloist, Rollins has seen the years bring even more depth to his musical explorations. As part of a supple sextet, his lines dance around the trombone of Clifton Anderson (who also produced the set) with grace and invention.
By David Greenberger.

Tenor saxophonist Sonny Rollins releases Sonny, Please -his first studio recording in five years - on Emarcy / Doxy Records, his own label. The album was released digitally on November 21, with the traditional CD release date set for January 23, 2007. The new CD captures his working band "at a good pitch," as he puts it. "Anytime you do a string of performances, it tightens up the ensemble, and the band was playing well-very high-powered." The album is a mix of Rollins originals and indelible standards, including the assertive title track which takes its name from "something my wife [Lucille] always used to say: `Sonny, Please!'" "Sonny is really playing on this record," concurs Clifton Anderson, Rollins's longtime trombonist who also served as the new CD's producer. "Each track has its own beautiful distinction, yet there's a clear continuity throughout the recording." In addition to Anderson, the group is comprised of bassist Bob Cranshaw, an esteemed Rollins collaborator since 1959; guitarist Bobby Broom and drummer Steve Jordan, both of whom had worked with Sonny on prior occasions in the 1980s; and the percussionist Kimati Dinizulu, who joined the band six years ago. Rollins won the Grammy in 2001 for This Is What I Do and again in 2005 for "Why Was I Born?" (from Without A Song -The 9/11 Concert), in the Best Jazz Instrumental Solo category. In addition, Sonny received a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences in 2004 and was inducted into the Academy of Achievement in 2006.
**
Sonny Rollins- (Tenor Sax)
Clifton Anderson- (Trombon)
Bobby Broom- (Guitar)
Bob Cransahw- (Bass)
Kimati Dinizulu- (Perc.)
Steven Jordan- (Drums)
**
01. Sonny, Please 7:59 
02. Someday I'll Find You 9:53
03. Nishi 7:51 
04. Stairway To The Stars 5:13 
05. Remembering Tommy 7:41 Album Only
06. Serenade, (Ballet Les Millions D'Arlequin) 8:17 
07. Park Palace Parade 7:29
**
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Sonny ROLLINS - Tenor Madness 1956

Sonny ROLLINS - Tenor Madness 1956
Label: OJC
Audio CD: (October 25, 1990)

Jazz

This 1956 outing pairs the tenor great with Miles Davis's rhythm section of the time: pianist Red Garland, bassist Paul Chambers, and Philly Joe Jones. Most significantly, the title track represents the only recorded meeting between Rollins and John Coltrane (also a Davis Quintet member at the time), a fierce cutting contest that finds the two legends pushing each other to great effect. The remainder of the session finds Rollins in a warm, relaxed mood, rolling through a typically eclectic repertoire and adding the lightly swinging original "Paul's Pal." His respect for melody and emphasis on tone shine through clearly.
By Marc Greilsamer.
**
The bad news is that tenor Olympians Sonny Rollins and John Coltrane joined forces in the studio just once. The good news is that it's available on TENOR MADNESS. The title track is battle of two gladiators, exchanging solos with such strength and imagination it's mind-boggling. Coltrane begins the exchange, which is really not a battle but rather a collaboration with Rollins. Although the piece is not really a competition, Rollins is every bit Coltrane's equal during the 12+ minute romp. This recording is astounding and timeless. It literally doesn't get any better than this.
So the CD goes downhill from there, right? No way. Sonny is as relaxed as a late summer morning on the second track, "When Your Lover Has Gone." Red Garland (piano) and Paul Chambers (bass) also takes solos that are as smooth as a velvet rainbow. "Paul's Pal" is a nice groove number with some outstanding brush work by drummer Philly Joe Jones. "My Reverie" finds Sonny floating a soft, smoky vibrato over the rhythm section. The disc concludes with "The Most Beautiful Girl in the World," a Richard Rodgers tune that the boys have great fun reconstructing. Great solos by all.
Very highly recommended.
By  A. Wolverton.
**
This was, in my opinion, Sonny's first real important and influential album. The public was aware of his talents, when he replaced Harold Land in the Max Roach/Clifford Brown Quintet the year before, but Sonny hadn't really made a ground breaking album yet. This was it!
Tenor Madness swings in ever which way. There ain't a bad track on the whole album. A masterpiece from start to finish. Though over-shadowed by its more famous father release, Saxophone Colossus, Tenor Madness can hold its own, and it features some of the best tenor saxophone playing by Sonny, and ever in jazz.
The players were top notch too. For the first track, John Coltrane sits in. I believe Sonny thought it was his job to let the new guy blow. Sort of like old man let's young man have a shot. And back and forth solos between them in the song is almost woth the price of the cut alone.
There isn't two saxophonists who play more different. You can easily distinguish Sonny from Trane, and both of their ideas are endless and imaginative.
And joining Trane and Newk was The Red Garland Trio. Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums. Also know as, the rhythm section of the Miles Davis Quintet. The three worked together on numerous projects, though Garland substituted Art Taylor for drummer Philly Joe Jones most of the time, on Red's solo projects, The Red Garland Trio quickly became Garland, Chambers, and Art Taylor, but the original drummer, Philly Joe Jones is here for the recording.
Red Garland was truely his own man. Very distinct style, with his use of block chords, and melodically swinging approach. After Sonny gives up his solo time and Garland comes in, a beautiful mileau comes over you, due to Garland's colorful and imaginative solos.
Paul Chambers' bass solos, some while using a bow, are extraudinary. Philly Joe had a way of being very melodic when he soloed. His solos are very imaginative and all fit well with the piece. He compliments whom ever is soloing very well, and makes it even more of a joy to listen to.
Though the album opens up with the classic, Tenor Madness, I agree with the other reviewer who was pleased more with the last few tunes, omit John Coltrane.
There is The Most Beautiful Girl started out in 3/4 and which features a very nice melodic drum solo by Philly Joe, and there is the dedication piece to Paul Chambers, Paul's Pal, perhaps the most melodic tune on the whole album. I love when Sonny and Philly Joe are trading solos, and Sonny just finds that special note he likes and just sticks with it, calm and subtle, and Philly Joe just picks up his brushes and solos like nothing ever happened.

This was a unique and enjoyable recording all around. I highly recommend it to anybody into jazz, for a short time or for a while.
You can't go wrong with Tenor Madness.
By  Chris Covais.
**
Sonny Rollins- Tenor Saxophone
John Coltrane- Tenor Saxophone
Red Garland- Piano
Paul Chambers- Double Bass
Philly Joe Jones- Drums
**
01. Tenor Madness  12:15
02. When Your Lover Has Gone  6:12
03. Paul's Pal  5:12
04. My Reverie  6:08
05. The Most Beautiful Girl In The World  5:35
**
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Sonny ROLLINS With The Modern Jazz Quartet 1953

Sonny ROLLINS With The Modern Jazz Quartet 1953
Label: Prestige / OJC
Recorded on January 17 and December 17, 1951
And on October 7, 1953. Originally released on Prestige (7029).
Release Date: 07 Apr 1989

Jazz

Included here are some of Sonny Rollins' earliest sessions as a bandleader. These are among the fresh and vibrant baker's dozen of selections on Sonny Rollins With the Modern Jazz Quartet (1953). The title is a bit misleading though, since the MJQ — with John Lewis (piano), Milt Jackson (vibes), Percy Heath (bass), and Kenny Clarke (drums) — is only accounted for during the first four sides. There is a playful and energetic tone that ricochets from Jackson's fluid vibes, landing firmly in Rollins' musical court. One prime example of this interaction is heard throughout the solos on the opening track, "Stopper." Similarly, "Almost Like Falling in Love" bops, weaves, and swings throughout, with some expressive contributions via Lewis, effectively linking Rollins' and Jackson's solos. "No Moe," which stands as one of the best originals on the disc, also bears their undeniable connection. Another not-to-be-missed reading is the sultry "In a Sentimental Mood." Here, Rollins spirals mature and ethereal lines against Jackson's resonant intonation and shimmer. If just for these tunes, Sonny Rollins With the Modern Jazz Quartet is a vital component in any jazz enthusiasts' collection. The rest of the disc is performed by Rollins and a quartet that also includes the talents of Kenny Drew (piano), the MJQ's Percy Heath (bass), and the main Jazz Messenger, Art Blakey (drums). On the original tune "Scoops," Blakey's hardball antics provide well-placed sonic interjections, punctuating Rollins' highly infectious melodic sense. While on the subject of catchy tunes, all ears should be directed to the biblically derived title "Shadrack," which had been a signature piece for Louis Armstrong. This early incarnation of the Sonny Rollins Quartet has rarely sounded as cohesive, as they collectively percolate with their definitive execution. Of particular note is the inclusion of Miles Davis' "I Know." This extension of Charlie Parker's "Confirmation" features Davis on piano accompanying Rollins with solid chord progressions, allowing the burgeoning player to lead his first-ever quartet with Heath and Roy Haynes (drums).
By Lindsay Planer.
**
Always gifted with a big band sound and a pure sense of swing, Sonny Rollins did not emerge full-blown from the foam like Venus. He gained polish and experience with Bud Powell, J.J. Johnson, Miles Davis and Thelonious Monk, before making his Prestige debut as a leader at the tender age of 21. WITH THE MODERN JAZZ QUARTET celebrates the tenor saxophonist's first three 10-inch LPs--MAMBO JAZZ, SONNY ROLLINS QUARTET, and SONNY ROLLINS WITH MILT JACKSON--and is culled from sessions in December of 1951 and October of 1953.

There is much joy and rhythmic elation in Rollins' early vamp figures such as "Shadrack" and "Scoops," where he preaches with a stomping fervor that anticipates the hard bop movement. On "Newk's Fadeaway," he hints at the harmonic freedom and plasticity of line that would distinguish his early triumphs, while "Mambo Bounce" (sampled early and often by the acid jazz crowd) is a delightful early mixture of Afro-Cuban and swing textures, prefiguring his later uses of calypso melodies and rhythms.

And while Rollins' ballad playing doesn't approach the harmonic depths he would routinely invoke in later years, his smoky tone and behind-the-beat phrasing suggest an affinity for middle period Lester Young ("This Love Of Mine" and "With A Song In My Heart"), even as his thicker timbre and robust articulation point to Coleman Hawkins and Ben Webster ("With Time On My Hands"). By the time he takes on Ellington's "In A Sentimental Mood" with the Modern Jazz Quartet, his tone has really filled out and he's improvising with a broader range of inflections. "The Stopper" offers a garish chase with cute starts and stops, while "No Moe" is a classic line that inspires vigorous, easy-going blues interplay. And for hard swinging, "It's Almost Like Being In Love" hints at future virtuoso turns on the popular song.
From CD Universe.
**
Art Blakey- Drums
Kenny Clarke- Drums
Miles Davis- Piano
Kenny Drew- Piano
Ira Gitler- Liner Notes
Roy Haynes- Drums
Percy Heath- Bass
Milt Jackson- Vibraphone
John G. Lewis- Piano
Sonny Rollins- Sax (Tenor), Performer
**
01. The Stopper (2:59)
02. Almost Like Being in Love (3:25)
03. No Moe (3:31)
04. In a Sentimental Mood (3:20)
05. Scoops (2:17)
06. With a Song in My Heart (3:09)
07. Newk's Fadeaway (3:14)
08. Time on My Hands (2:43)
09. This Love of Mine (2:27)
10. Shadrack (2:35)
11. On a Slow Boat to China (2:41)
12. Mambo Bounce (2:24)
13. I Know (2:32)
**
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Sonny ROLLINS - Saxophone Colossus 1956

Sonny ROLLINS - Saxophone Colossus 1956
Label: Prestige/OJC
Recorded at: Van Gelder Studio, Hackensack, New Jersey 1956
Audio CD (March 21, 2006)
Remastered.
Jazz

The year 1956 marked a turning point for Sonny Rollins. Out of the ashes of what had been a talented but troubled young tenor saxophonist, came a new Sonny Rollins, his purpose clarified and strengthened, his muse razor sharp and brimming with new visions. As a new member of the Clifford Brown/Max Roach Organization, he was inspired as much by their spiritual consistency as their artistic integrity. By his own admission, even as a jazz tadpole, Sonny Rollins possessed a brawny sound and a powerful rhythmic drive...but other elements were missing.

With SAXOPHONE COLOSSUS, Sonny Rollins created a personal vision of the tenor saxophone and modern jazz brimming over with joy and conviction. SAXOPHONE COLOSSUS was a breakthrough recording, praised for its lyrical power, thematic logic, relentless swing and spontaneous invention. Borrowing a page from his West Indian roots, Rollins' "St. Thomas" employed elements of Caribbean folk melodies and calypso rhythms to create an exotic, dancing tenor anthem--one of the most identifiable, beloved themes in all of jazz--driven along by Max Roach's melodic drumming, Tommy Flannagan's shimmering accompaniment, and the saxophonist's swaggering melodic invention.

Rollins displayed fresh harmonic power and innovative methods of thematic develpment throughout SAXOPHONE COLOSSUS. On the swinging starts and stops of "Strode Rode" and the dreamy blues cycles of "Blue 7," Rollins began his solos with simple melodic motifs, and orchestrated them into grand, elongated thematic statements--every note made meaningful by Rollins' extraordinary sense of development and intuitive musical architecture. In addition, his tenor timbre took on renewed vigor and complexity on.
CD Universe.
**
Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of "St. Thomas," tears into the chord changes of "Mack the Knife" (here called "Moritat"), introduces "Strode Rode," is lyrical on "You Don't Know What Love Is," and constructs a solo on "Blue Seven" that practically defines his style. Essential music that, as with all of Rollins' Prestige recordings, has also been reissued as part of a huge "complete" box set; listeners with a tight budget are advised to pick up this single disc and be amazed.
By Scott Yanow. 
**
Though he lacked the improvisational fire of John Coltrane or the restless curiosity of Miles Davis, Sonny Rollins played with a rich, round tone that complemented his melodic inclinations, making him the most accessible of the postbop musicians. Saxophone Colossus is the most successful of the late 1950s albums that made his reputation. Rollins's playing never falters; he's backed by the redoubtable Max Roach on drums, Tommy Flanagan on piano, and Doug Watkins on bass. Rollins is equally at home with the lilting Caribbean air of "St. Thomas," standards ("You Don't Know What Love Is"), blues ("Strode Rode," featuring a driving Flanagan solo), and a smoldering version of Brecht-Weill's "Moritat" (better known as "Mac the Knife"). If you are new to jazz, there is no better place to start than Saxophone Colossus.
By Steven Mirkin.
**
Sonny Rollins (Tenor Saxophone);
Tommy Flanagan (Piano);
Doug Watkins (Upright Bass);
Max Roach (Drums).

01. St. Thomas  Rollins  6:48 
02. You Don't Know What Love Is  DePaul, Raye  6:31 
03. Strode Rode  Rollins  5:19 
04. Moritat  Brecht, Weill  10:05 
05. Blue 7  Rollins  11:17 
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Sonny ROLLINS - This Is What I Do 2000

Sonny ROLLINS - This Is What I Do 2000
Label: Milestone
Recorded: May 9, 10, July 29, 2000 - New York City

**THIS IS WHAT I DO won the 2002 Grammy Award for Best Jazz Instrumental Album, Individual Or Group.**

Jazz

With his nephew, Clifton Anderson, on trombone, Stephen Scott on piano, longtime partner Bob Cranshaw on electric bass, and Perry Wilson and Jack DeJohnette on drums, Sonny Rollins's big sound and genius for thematic improvisation are in full effect on This Is What I Do. "Salvador," a calypso-samba tribute to the Afro-Brazilian city, is a rhythmic ancestor of his celebrated "St. Thomas." The gospel-tinged version of "Sweet Leilani" and his midtempo rendition of "The Moon of Manakoora"--from the films Waikiki Wedding and The Hurricane, respectively--both highlight Rollins's humorous side and his genius for turning corny pop tunes into jazz vehicles. Rollins also salutes dearly departed comrades with the funky "Did You See Harold Vick" and the sanctified stirrings of "Charles M" in honor of Charles Mingus. What tenor saxophonist Sonny Rollins has done for the past 50 years is reign as one of jazz's most thrilling improvisers. This is further proof why.
By Eugene Holley Jr. AMG.
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This is his best studio recording in years. Other than the presence on Jack DeJohnette on a couple of tracks, this is Sonny's regular working group. Stephen Scott and Clifton Anderson play a few short, pleasant solos, but Sonny dominates the recording from beginning to end. No barnburners, (all of the tunes are medium to medium-slow tempo), but the Sonny's playing is the warm, lyrical, and filled with imagination and humor. Even though a studio recording will probably never match his playing for those of us that have heard him in a club or concert hall, this one comes close.
By John Nicholas.
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Sonny Rollins- Tenor Sax;
Clifton Anderson- Trombone;
Stephen Scott- Piano;
Bob Cranshaw- Electric Bass;
Jack DeJohnette- Drums;
Perry Wilson- Drums.
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01. Salvador 7:53 Album Only
02. Sweet Leilani 7:01 Album Only
03. Did You See Harold Vick? 9:19 Album Only
04. A Nightingale Sang In Berkeley Square 8:06 Album Only
05. Charles M. 10:19 Album Only
06. The Moon Of Manakoora 5:44
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