Back when I first started really getting into music I used to find out about artists by reading the liner notes on other artists’ albums. For example, I found out about Chuck Berry and Muddy Waters by reading the backs of my brother’s Rolling Stones albums. I’d see the writers of the songs’ names - C. Berry, McKinley Morganfield, etc. - and then try to figure out who they were and if they had any albums of their own. I’d think to myself that if the Stones thought their songs were good, they’d probably have some other worthwhile songs as well. So I’d bounce around and quickly learn about a bunch of other artists that way. I don’t really use that method anymore but, every once in awhile, manage to find some info off of a CD that may lead me on a goose chase to find a different artist’s or producer’s work thanks to a songwriting credit or some other mention on a CD. For example, before I became a jazz hound, I first found out about Sonny Rollins through the Stones album Tattoo You. Rollins plays sax on “Waiting On A Friend” and a few other numbers as well. After hearing his solos on those songs, I immediately started checking out his other work. I ended up becoming enthralled with his playing and it is great to see this album reissued. It is one of his best, which is saying something considering his lengthy career, which continues to this day.
Rollins actually started his jazz career on the piano before moving first to alto sax and then settling in at tenor. Making his recording debut in 1949 as part of Babs Gonzalez’ band, soon became well known in jazz circles and had joined Miles Davis’ band by 1951. Within two years he had also joined Thelonius Monk’s band. Following a several year stint out of the music business due to personal problems, Rollins joined the Clifford Brown-Max Roach quintet for three years, after which he became a leader and has continued to lead ever since. Until John Coltrane’s star rose, Rollins was considered the best tenor saxophonist in all of jazz, a title some jazz cognoscenti still bestow upon him. In the late 50’s Rollins once again dropped out of the music business for a couple of years. When Rollins re-emerged in 1961 he brought with a him a more open, freer style that bore a bit of resemblance to his earlier playing but was much more adventurous and daring. He garnered much acclaim for his newer style but once again decided to retire for a spell in the late ’60’s. When Rollins returned in the early ’70’s, Rollins had once again altered his style somewhat, opting for a style closer to R&B instead of bop. Since then, his recordings have tended to be more commercial and less essential and his choice of sidemen is dubious. Under the guise of helping other musicians step up, he has made his own work suffer. Still, Rollins remains an exceptional soloist and any Rollins album offers much to be enjoyed.
For this album, Rollins decided to use his compatriots in the Clifford Brown-Max Roach quartet (he was a member) as his sidemen. This was one of Brown’s last dates before his death and you can sense much rapport between the two artists. Rollins is quite a capable leader and it shows on this CD. The song “Valse Hot” is the highpoint of the set and perfectly illustrates the rapport between the musicians and the talents of Rollins himself. While this album is not given it’s just due today, make no mistake: this is a great set and those into great saxwork will enjoy Rollins work. Those who are more familiar with his later, more commercial, work will be surprised at the emotion and passion he shows here, but should still find plenty to enjoy.
Fans of jazz saxophone will enjoy this album immensely. Rollins is frighteningly underrated and can hold his own next to Coltrane or any of the other greats of jazz saxophone playing when he wants. Sadly, he hasn’t been showing the same fire in his recent work but there is enough fire here to go around. This is a great album
