11/11/2023 0 Comments Pent up house lead sheet![]() Both the title track and “Swingin’ for Bumsy” charge forward with no hesitation, and Sonny’s solo on “Moving Out” is so well ordered and executed as to rank with his more celebrated playing soon to come. Sax-god-in-training Rollins turns in one of his best early performances on this aptly titled album, with Kenny Dorham on trumpet and the rhythm section of Elmo Hope, Percy Heath, and Art Blakey. This trivia is more memorable than the performance itself, but for the rest of the CD? Well, would you want to read what Shakespeare wrote as a younger man? The disc ends with “I Know” (= “Confirmation”), a themeless runt from a Miles Davis session where Miles insisted that Rollins get a moment in the spotlight, and thus it became Sonny’s “hello” as a leader. His later, more extended thematic permutations can be traced to this early infatuation with malleable melodies. In terms of solo development, notice how Sonny keeps referencing the theme of “With a Song in My Heart” during his improvisation on same, grabbing phrases from it and pointing them in different directions. Rollins contributes three originals, including the tropical “Mambo Bounce”. ![]() The December 1951 date is with Kenny Drew, Percy Heath, and Art Blakey, and it contains more balladry, bop, and blues over the course of eight tracks. Rollins, known for lengthier constructions, manages to tell logical stories within brief windows, and Milt Jackson’s vibes are one of the most joyous, flowing sounds in all of jazz. These tracks, like everything else on the disc, stay within the 2-3 minute range and force the players’ hands. Sonny’s best solo comes in “No Moe” with every phrase either initiating or completing a fresh idea. “The Stopper” has some of the famed counterpoint of that quartet as Sonny dallies above them, while “In a Sentimental Mood” is, well, sentimental and straightforward. This disc combines early Rollins dates, of which only four tracks (the later ones) feature the MJQ men. Nevertheless, several titles below show what Rollins was capable of when the mood and tune were right. Harnessing that glory in a recording studio is tough to do, and Rollins sometimes voiced dissatisfaction with his own recordings. Rollins’ in-the-moment genius is a performance-based phenomenon, and he thrives or dies by the inspirational sword on stage. We’re talking about one of the greatest improvisers ever. Nor does he bother much with group interaction, which is kind of disappointing, but when a player has a message like Rollins, he can take the elevated pedestal and I’ll hear him out. ![]() Strangely or not, this doesn’t translate to free music - Sonny never sounds completely comfortable in his freer 1960s efforts. He’s at his best in standards or originals that utilize standard progressions where he can develop themes over an established template. Rollins’ ability to structure spontaneity in his solos is astonishing. THE tenor sax giant, after Pres and Hawk (who were his early idols).
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |