Sonny Rollins, one of the greatest tenor saxophonists, died at his home in Woodstock, New York, on May 25. He was 95. He had performed only rarely in the past decade, so while I knew this day would come, hearing about his passing still makes it feel like we have lost a giant. From “Saxophone Colossus” (Prestige) and “Way Out West” (Contemporary) to “A Night At The Village Vanguard” (Blue Note), “The Bridge” (RCA) and “Alfie” (Impulse), Rollins left behind countless masterpieces. In this column, I want to look back at some of Rollins’s remarkable achievements by highlighting recordings that have come to light in recent years.
#328 Live Stage Filled with Charm of Young Rollins
FREEDOM WEAVER THE 1959 EUROPEAN TOUR RECORDINGS / Sonny Rollins
(Resonance CD [Imported, Japanese Edition][咲白1.1] ⇒ KKJ-238, LP [Imported, Japanese Edition] ⇒ KKJ-10018)
In spring 1959, when this performance was recorded, Sonny Rollins, the leading figure in modern tenor saxophone, was at the peak of his artistry and popularity. Rollins was 28 at the time. This 3-CD (4-LP) set lets listeners fully immerse themselves in Rollins’s charm as he unleashes commanding improvisation, making the tenor saxophone sing with a robust tone. Around this time, Rollins was boldly embarking on adventures in free improvisation with a trio that excluded the piano from its lineup.
His trio’s European tour began in Stockholm and lasted 10 days, taking them through Switzerland, the Netherlands, and Germany before ending at a concert hall in Aix-en-Provence, southern France. As expected from a proper recording by a broadcasting station, the sound quality of the performance is excellent. It begins with the famous ＜St. Thomas＞ and includes many other representative pieces from their repertoire, such as ＜Oreo,＞ ＜Paul’s Pal,＞ and ＜I’ve Told Every Little Star.＞ The album also includes four tracks — ＜Stay as Sweet as You Are,＞ ＜A Weaver of Dreams,＞ ＜Cocktails for Two,＞ and ＜Lazy Bird＞ — which are the only recorded performances of these pieces by Rollins. Starting that fall, Rollins would take a two-year hiatus from performing. The fact that these performances took place six months before that hiatus makes them all the more valuable. While portions of these performances previously circulated as bootleg recordings, Bernie Grundman’s mastering has significantly improved the sound quality for this release. The album was officially released in 2024 with Rollins’s personal approval.
#329 Rollins’ Trio Performance Shines with Spontaneous Charm
ROLLINS IN HOLLAND: THE 1967 STUDIO & LIVE RECORDINGS / Sonny Rollins
(Resonance CD [Imported, Japanese Edition] ⇒ KKJ-1046, LP [Imported, Japanese Edition] ⇒ KKJ-10002)
After releasing “EAST BROADWAY RUN DOWN” (Impulse) in 1966, Sonny Rollins did not put out any official recordings for six years. He returned with “NEXT ALBUM” (Milestone) in 1972. In 2020, performances by Rollins from 1967 recorded at a studio in Hilversum near Amsterdam and at a concert in Arnhem in the eastern Netherlands finally saw the light of day.
At that time, Rollins had traveled to the Netherlands on his own and was backed by Ruud Jacobs, a renowned local bassist, and drummer Han Bennink. The performance reportedly took place after only a brief rehearsal. “You might call it a performance based on split-second decisions, but for a trio, this is the best way to do it,” Rollins said. “The playing of the other two was superb, and we were able to create something incredibly spontaneous. I’m very satisfied.” The lineup features performances — including ＜Four,＞ ＜Sonnymoon for Two,＞ and ＜On Green Dolphin Street＞ — that brilliantly showcase Rollins’s unbridled style and expansive musical scope.
#330 Previously Unreleased Live Tracks, Each Personally Selected by Sonny Rollins
Holding The Stage (ROAD SHOWS VOL.4) / Sonny Rollins
(Okeh ⇒ Sony Music SICP-30921)
The “Road Shows” series brings together previously unreleased performances, each personally selected by Sonny Rollins. The fourth album in the series consists of tracks drawn from live performances carried out between 1996 and 2012 (except for one taken from 1979). “As for live recordings, there is almost no need for things like overdubbing afterward, and you needn’t worry about making several takes,” Rollins said, “which is the reason why I prefer live recordings.”
Sonny Rollins is truly one of a kind. Among these solo showcases, the performance at the Berklee Performance Center in Boston on September 15, 2001, is a real highlight. At the time of the horrific 9/11 terrorist attacks, Rollins was in his apartment, just a few blocks away from the World Trade Center. As the elevator was not working, he went down the dark staircase and came upon a terrifying sight. Rollins reportedly considered canceling the concert four days later, but, encouraged by those around him, he took the stage at Berklee. As he stated, “Everyone was in the midst of the crisis, and everything seemed so serious all the time,” Rollins played his saxophone with strong and sincere intensity — like he was praying for the people. The album called “WITHOUT A SONG THE 9/11 CONCERT” did include the live performance from that day, but the four tracks on this album were not part of that release. After the performance of “Sweet Leilani” — a piece which stays firm without becoming sentimental — the section in which he improvises a solo of nearly six minutes without accompaniment, playing a variety of melodies as his heart directs him — is indeed one of Rollins’s best. This track truly captures the spirit of Rollins, showing that his energy and brilliance never faded, even in his later years.
About the Author
Masamichi Okazaki
Surrounded by various kinds of music from his childhood, Masamichi Okazaki joined Waseda University Modern Jazz Club. He started contributing articles to music magazines when he was a student. He covers wide range of music not only trad, modern and contemporary jazz, but also from pops to classics. He writes liner notes for CDs and LPs, and is a regular contributor to “JAZZ JAPAN,” “STEREO,” and others. He joined a big band, “Shiny Stockings,” as a saxophone player. He is a director of The Music Pen Club Japan (MPCJ).
