The musical odyssey charted in this collection begins with an example of Rollins from this period, his early session with the sextet known as Jay Jay [sic] Johnson's Boppers. It was the tenorman's fourth visit to a recording studio, and his second with Johnson, who had used him two weeks earlier on a quintet date for Savoy that included Rollins's first two recorded compositions.
The Prestige debut contains another early Rollins original, the bop blues " Hilo ," and coincidentally includes three-fifths of a future Max Roach quintet, Roach, Sonny, and Kenny Dorham. About the brass giants on hand here, Rollins says: "I knew Kenny from when he moved up on the Hill.
We were tight, and used to practice and rehearse together. These themeless choruses on the chords of Parker's "Confirmation," ultimately titled "I Know" when released as a rpm single, apparently led the Prestige executive to give the young saxophonist a recording contract. While these dates include several intimations that the young tenor player was already something special how many musicians would have quoted "Well, You Needn't" then, as he does during his chorus on "Out of the Blue"?
It was plentiful, and I was hooked pretty bad, along with everybody else. It was a thing we all went through; some of us came out of it, and some didn't.
I did. The battle was not easily won. He was arrested again in for parole violation. This summit meeting proved to be a tension-filled affair that went unreleased until , after Parker's death. Rollins sounds like the most together of the soloists through much of the date, although his actual condition led to a pivotal conversation with Parker.
I had just messed around with another musician before the session, but I lied and told Bird I was straight. At a break, somebody else mentioned that I had gotten high. That's when Bird told me I could be a great musician if I didn't mess around, and that stayed on my mind. He couldn't get off of it, and when he saw all of these young kids hooked, he took it on himself. This motivated me—I wanted to show him that one of his followers got the message.
The quote really had no particular significance, although I thought later about how it could be taken the wrong way. Rollins continued to grow as a musical force during and '54 despite two more years of personal turmoil. His October recordings with the Modern Jazz Quartet reveal a more mature soloist and composer.
A month later, he cut his first session with Monk. More of the rough edges had been planed away on a January date with Art Farmer, who had approached Rollins about recording after the two had played together at sessions. The last of these was the June 29th date on which Rollins came into his own. The trumpeter was already an acknowledged star maker at the time, and his inclusion of a sideman's tunes on his recordings was the ultimate seal of approval.
I don't recall playing them on jobs with Miles, though; it was probably a situation where we were in the studio and Miles said 'Got any tunes? When I played with Miles during this period, the piano would often inhibit what we wanted to do, and both of us would ask the pianist to stroll. We had a lot of similar ideas about music. Musicians and fans were starting to pay attention to Rollins, and Prestige responded in the latter half of with two inch albums under the saxophonist's name.
As commanding as he sounds on Sonny Rollins Quintet with Dorham and Elmo Hope and Sonny Rollins the quartet encounter with Monk , he was still wrestling with his drug habit. He took a room at the YMCA, found work as a janitor and as a laborer loading trucks, and used his spare time to practice.
Months passed before he began playing in public. Guys coming up to you at sessions and offering you stuff, and your palms sweating; you've seen it in the movies. There I was struggling, working my little day job, and right around the corner from the YMCA where I was living was a record store with my quartet album with Monk in the window! It was tough, but I came through that okay. I was always working on something, and I was also learning songs. Rollins took the majority of to pull himself together.
When the quintet left town, Rollins was on board as a full-time member, creating one of the most inspired and sadly short-lived front-line pairings in jazz history. This is a truly prodigious output, particularly for an artist who takes so much time to prepare his contemporary releases.
The demand for product in the dawn of the era of the inch album may explain in part this burst of activity, although the determination of Prestige to stockpile material before Rollins's contract expired may have also played a role. From Rollins's own perspective, he recalls simply wanting to work and make some money after his period of struggle.
Whatever the reason, Rollins approached these albums with a mixture of furious energy and intellectual rigor that announced a new creative plateau. The former has often been identified as one of Rollins's greatest achievements, while the latter features starkly contrasting moods, given the two ballads with Earl Coleman.
Since Bird did a record with Earl, I wanted to do one too. Swift" and "Cherokee" "B. Quick" , as well as the voracious invention of the blues "Ee-ah.
In each instance, Rollins chose material that was not a part of the regular group repertoire. The rest of the material was just current pop tunes that I liked or, in the case of the Bird medley, songs that Max and I associated with Parker.
I was interested in writing a waltz; the precedent was Fats Waller's 'Jitterbug Waltz,' that was in my mind, and I used the chords from 'Over the Rainbow. The title comes from my situation when I wrote it. I was staying in someone's house at the time, and felt pent up because I couldn't practice. It is one of the few albums of his own that the perpetually self-critical Rollins admits to liking.
We really sound compatible. This track, as well as "Sonny Boy" from the final session, only surfaced in the early Sixties after Rollins mentioned them in a conversation with critic Joe Goldberg, whose subsequent reminder to Weinstock led to their rediscovery. At that time, everybody was hanging out together, and you'd see each other all the time. Groups would be put together for albums without a lot of premeditation.
It was a much smaller, tighter world. The same thing happened with ' St. Thomas ,' which of course is a traditional song that I heard my mother singing. One particular exchange epitomizes the distinction so clearly that I have frequently played it for friends who want to hear the difference between the two giants.
It takes place during the last four bars of the third chorus of "fours," and the first four bars of the next chorus. Coltrane grows increasingly heated in his turn, laboring over a pet ascending figure; then Rollins responds by juggling the lick and ultimately playing it backwards. Because of the humor in my music, people have accused me of not really playing, of just playing around. In fact John told me that about 'Tenor Madness'; he said, 'Aw, man, you were just playing with me.
Rollins describes it as "very clean for me—I'm a rough player usually," and has admitted that "it caught everybody on a good day. Thomas "; and another unique original composition, "Strode Rode. It was named for a legendary place there called the Strode Hotel, which is where Freddie Webster [an influential but little-recorded trumpet star of the Forties] died.
I didn't know what I was doing. Silk 'N' Satin. Track Listing - Disc 4. I Want to Be Happy. The Way You Look Tonight. More Than You Know. Irving Berlin. Rain Check. Billy Strayhorn. There Are Such Things. It's All Right With Me. Cole Porter. In Your Own Sweet Way. Dave Brubeck. No Line. Vierd Blues. Track Listing - Disc 5. I Feel a Song Coming On. Pent-Up House. Valse Hot. Kiss and Run. Sam Coslow. Count Your Blessings Instead of Sheep. My Reverie.
The Most Beautiful Girl in the World. Paul's Pal. When Your Lover Has Gone. Einar A. Tenor Madness. Track Listing - Disc 6. Strode Rode. Blue 7. I've Grown Accustomed to Her Face.
Kids Know. The House I Live In. Track Listing - Disc 7. The Bird Medley: Old Folks. The Bird Medley: Just Friends. Charlie Parker. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top review from United Kingdom.
There was a problem filtering reviews right now. Please try again later. For anyone interested in Jazz in the fifties and particularly the saxophone, this is the set to buy. Rollins was at the height of his powers although later became over shadowed by John Coltrane. See all reviews. Unlimited One-Day Delivery and more. There's a problem loading this menu at the moment.
Learn more about Amazon Prime. Back to top. Get to Know Us. Learn more about our star rating system. Sponsored by Summit Records. Reset your password Click the eye to show your password. Membership has its privileges. Learn more. Showcase Buy Now. With Ludovico Granvassu. Shop Amazon. You're It! Signals Trio Linguae. Prism Conference Call.Prestige also released albums on several subsidiary labels including the New Jazz, Bluesville, Moodsville and Swingsville labels. The Prestige Recordingsor The Complete Prestige RecordingsCD box setshave been released for Davis, Coltrane, Dolphy, Monk, Rollins, Gordon, and others.