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Sonny Rollins - The Sound Of Sonny

(Riverside/Fantasy/Bernhard Mikulski OJCCD-029-2, 1987)

Track list:

1. The Last Time I Saw Paris (Hammerstein, Kern) 2:58

2. Just in Time (Comden, Green, Styne) 3:59

3. Toot, Toot, Tootsie, Goodbye (Erdman, Fio Rito, Kahn, King) 4:25

4. What Is There to Say? (Duke, Harburg) 4:56

5. Dearly Beloved (Kern, Mercer) 3:05

6. Ev'ry Time We Say Goodbye (Porter) 3:23

7. Cutie (Hefti, Styne) 5:54

8. It Could Happen to You (Burke, VanHeusen) 3:47

9. Mangos (Libby, Wayne) 5:34

10. Funky Hotel Blues (Rollins) 6:00

Track 8:

Sonny Rollins (ts). NYC, June 11, 1957

Tracks 5, 6:

Sonny Rollins (ts), Sonny Clark (p), Percy Heath (b), Roy Haynes (d). NYC, June 11, 1957

Track 2, 3, 7, 9:

Sonny Rollins (ts), Sonny Clark (p), Percy Heath (b), Roy Haynes (d). NYC, June 12, 1957

Tracks 1, 4:

Sonny Rollins (ts), Sonny Clark (p -4), Paul Chambers (b) Roy Haynes (d). NYC, June 19, 1957

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.

Lindsay Planer wrote:

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A new phase in Sonny Rollins' career began in 1957. He started what was at the time an almost blasphemous trend of recording for a number of different labels. His pioneering spirit yielded a few genre-defining albums, including this disc. His performances were also at a peak during 1957 as Down Beat magazine proclaimed him the Critics' Poll winner under the category of "New Star" of the tenor saxophone. This newfound freedom can be heard throughout the innovations on The Sound of Sonny. Not only are Rollins' fluid solos reaching newly obtained zeniths of melodic brilliance, but he has also begun experimenting with alterations in the personnel from tune to tune. Most evident on this platter is "The Last Time I Saw Paris" -- which is piano-less -- and most stunning of all is Rollins' unaccompanied tenor solo performance on "It Could Happen to You." Indeed, this rendering of the Jimmy Van Heusen standard is the highlight of the disc. That isn't to say that the interaction between Sonny Clark (piano), Roy Haynes (drums), and bassists Percy Heath and Paul Chambers -- who is featured on "The Last Time I Saw Paris" and "What Is There to Say" -- is not top-shelf. Arguably, it is Rollins and Heath -- the latter, incidentally, makes his East Coast debut on this album -- who set the ambience for The Sound of Sonny. There is an instinctually pervasive nature as they weave into and back out of each others' melody lines, only to emerge with a solo that liberates the structure of the mostly pop standards. This is a key component in understanding the multiplicities beginning to surface in Rollins' highly underappreciated smooth bop style.

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Rating:
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