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Sonny Rollins - A Night At The Village Vanguard - 2 CDs (1957) Genre: Jazz

AMG (Rated 5 Stars):

This CD is often magical. Sonny Rollins, one of jazz's great tenors, is heard at his peak with a pair of piano-less trios (either Wilbur Ware or Donald Bailey on bass and Elvin Jones or Pete La Roca on drums) stretching out on particularly creative versions of "Old Devil Moon," "Softly As in a Morning Sunrise," "Sonnymoon for Two," and "A Night in Tunisia," among others. Not only did Rollins have a very distinctive sound but his use of time, his sly wit, and his boppish but unpredictable style were completely his own by 1957. [Originally released as separate albums, A Night at the Village Vanguard was reissued in its entirety, complete with alternate takes, as a two-disc set in 1999; it was part of Blue Note's acclaimed Rudy VanGelder reissue series.]

Amazon.com:

In 1957, Sonny Rollins was at an early creative peak, already a masterful improviser who could range from hard-bitten bop blues to broad or sly humor, all conveyed with a swaggering virtuosity and bullying warmth. One of the first jazz musicians to develop the extended solo, Rollins would turn tunes inside out rhythmically, often building a solo around complex variations on a tune's melody. The Vanguard recordings come from a period when Rollins found maximum freedom in a trio pared down to the essentials of tenor, bass, and drums, and the multiple takes here testify to his fluent invention. Disc 1 of this set is highlighted by two takes of "A Night in Tunisia," the first recorded at a matinee with bassist Donald Bailey and drummer Pete LaRoca, the second and faster version at the evening performance with regular accompanists bassist Wilbur Ware and drummer Elvin Jones. The second CD continues the evening performance with Ware and Jones. It's a uniquely gifted threesome, with each musician seeming to invent new ways to swing, without a note or a musical opportunity wasted. Both Rollins and Ware reveal their relationship to Thelonious Monk in the ability to create complex, arresting music out of shifts in rhythmic inflections. It's especially apparent in the second version of "Softly as in a Morning Sunrise." In this context, Jones has an opportunity to show just how melodic a drummer he was. The two versions of "Get Happy" demonstrate Rollins's ability to make complex and witty music out of the most banal material, while "What Is This Thing Called Love" is a tour de force of sustained group invention.

Allaboutjazz.com:

Located on 7th Avenue just below West 11th Street in New York City's Greenwich Village, the Village Vanguard has been the seat of live jazz since the 1940s. Ninety-one live recordings have been made at the Vanguard between 1957 and 2001, chronicling the whole of the history of jazz. What was the first live recording made at this fabled club, one might ask?

By 1957, Sonny Rollins had already been on the New York jazz scene for a number of years. Born in the Sugar Hill section of Harlem, Rollins first studied piano before changing to tenor saxophone. After rehearsing with the Thelonious Monk quartet in late 1948, Rollins was to make his recording debut backing vocalist Babs Gonzalez on a 1949 recording. During that same year, Rollins appeared with Bud Powell and Fats Navarro. Throughout the early to middle 1950s, Rollins recorded with Charlie Parker, Miles Davis, Thelonious Monk, Art Blakey, The Modern Jazz Quartet, Coleman Hawkins, and John Coltrane. Rollins was a member of the famous Clifford Brown Max roach combo before Brown's untimely death.

Rollins recorded first as a leader on December 16, 1956 (Sonny Rollins, Volume 1 Blue Note 81542), though he has since been credited with about a dozen releases before this date, those including Saxophone Colossus and Tenor Madness. Sonny Rollins, Volume 2 (Blue Note 81558) was released in early 1957, followed by the pianoless trio date Way Out West (Contemporary/OJC 337), recorded on March 7, 1957. By the time November of 1957 rolled around, Rollins was ready to take his trio concept to the Village Vanguard and record the performances.

The recording that resulted documents two shows in the afternoon and evening of November 3, 1957. Rollins employed different bands for the two shows. The afternoon show sported Donald Bailey on bass and Pete (La Roca) Sims on drums and the only contribution to the whole by this band is the opening “Night in Tunisia.” The remainder of the recording is all Wilbur Ware on Bass and Elvin Jones on Drums. the recently released Rudy Van Gelder Edition is superior to all previous releases of this material. Included here is all of the pre-song banter showing a 27 year old Rollins wowing his crowd. Also, previously edited material is restored and situated in chronological order.

All of this is dryly technical, but the music is not. This is virile and daring music performed with the hubris of youth and genius. The nakedness of the Tenor Trio is justly daunting. But, to masters of this ilk, the trio format offers that additional dimension of creativity— finding what is important in melody and harmony. Charlie Parker is barely in the grave two years before these sides were cut. “A Night in Tunisia,” “Woody 'N' You,” and ”I Can't Get Started” sound fresh and new. Rollins's tenor was always larger than life in a most attractive way, unlike Coltrane. His tone was full and sexy and rough and exciting on this evening in November, 1957, and so was his genius.



DISC 1:

1. A Night in Tunisia [afternoon take] (8:16)

2. I've Got You Under My Skin (10:03)

3. A Night in Tunisia [evening take] (9:03)

4. Softly as in a Morning Sunrise [alternate take] (6:43)

5. Four (8:26)

6. Introduction (:20)

7. Woody 'N' You (8:29)

8. Introduction (:36)

9. Old Devil Moon (8:19)



DISC 2:

1. What Is This Thing Called Love (14:03)

2. Softly as in a Morning Sunrise (8:03)

3. Sonnymoon For Two (8:46)

4. I Can't Get Started (4:54)

5. I'll Remember April (9:20)

6. Get Happy (9:08)

7. Striver's Row (5:59)

8. All the Things You Are (6:46)

9. Get Happy [short version] (4:38)

Time: 131:52

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