Sonny Rollins - Saxophone Colossus (Reis)
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Artist: Sonny RollinsBrand: ROLLINS,SONNY
Edition: Music CD
Audio: English (Original Language)
Format: Original recording remastered
CD Release Date: 2006-03-21
Music Label: Prestige
Soundtracks:
- St. Thomas
- You Don't Know What Love Is
- Strode Rode
- Moritat
- Blue 7
Music reviews of Saxophone Colossus (Reis)
Music Review: A can't miss side, even though coming early in a 7-decade career.
Rating: 5 Stars
I've just checked out Rollins' bio on the frequently consulted "All Music Guide" (AMG), which in the very first sentence bluntly praises him as the greatest if all modern saxophonists. Granted, Sonny belongs in that special group of seminal giants--Hawk, Ben, and Prez and then come Stan, Stitt, Rollins, and a fellow by the name of Coltrane. Moreover, attentive listeners will discover equally impressive, gifted, expressive tenor players if they listen carefully to scandalously neglected musicians like Harold Land and Hank Mobley.
But age, apparently, has its privileges, and Sonny has been making records for 62 years, which in itself deserves some kind of special mention (though so has James Moody, and certainly Jimmy Heath isn't far behind). Moreover, "Colossus," which Amazon currently lists as its best-selling Rollins' date, was recorded in 1956, rather early for a player venerated for his "seminal" influence on the music.
Sonny's sound, at least to my ears, changed dramatically around 1970. Apparently a number of listeners prefer his earlier, darker, deeper, more muscular sound--at least based on the durability of his most revered sessions--most of them from the '50s. "Newk's Time," "Way Out West," "Freedom Now Suite," "Vol. 2," "Tenor Madness," "The Bridge"--these are the early Rollin' sessions that stand out, more so than the later ones, which featured a tenor sound that was more treblish, penetrating, rough and ragged (Sonny deserves credit for keeping his chops in shape, far more than other tenor greats).
"Saxophone Colossus" may be the ideal place to start, a second stop might be "Tenor Madness" (the sound of Coltrane should expain, in part, Rollins' decision to take a 3-year sabbatical from the music), and then it may be time for some of the numerous trio recordings (which require a more devoted student of the tenor, someone not requiring the moderating sound of a piano).
"St. Thomas" remains Rollins' best-known composition, and "Blue 7" one of the best examples of his "motivic" approach to improvisation. And it should not go unnoticed that the pianist on "Colossus"--Tommy Flanagan--was also the pianist on Coltrane's arguably most influential recording: "Giant Steps." Finally, Sonny (or few other musicians) never had a better bass player than Doug Watkins. Put all this together, and the result is an indispensable album.
[Compare the tempo at the conclusion of "St. Thomas" to the tempo at the beginning. Whenever musicians point an accusing finger at me for "rushing," I quickly point out that it's not unprecedented--even by one of the greatest rhythm sections every assembled (the drummer, incidentally, is Max Roach).]
Description of Saxophone Colossus (Reis)
No Description AvailableNo Track Information Available
Media Type: CD
Artist: ROLLINS,SONNY
Title: SAXOPHONE COLOSSUS
Street Release Date: 03/21/2006
Genre: JAZZ
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. --Steven Mirkin
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