Sonny Rollins – Tenor Titan

When discussing the four greatest tenor men in jazz it is interesting to note, in hindsight, that the musical development in their respective careers can be marked off by actual landmarks in their lives, some more strongly defined than others. With Hawk and Lester the development was gradual; with Coltrane giant steps in an incredibly short space of time, but as far as Sonny Rollins is concerned the rules seem to go awry.

Take Hawk; first the Henderson period where his rapid emergence took shape; then the thirties where he assumed the unassailable position as the tenor virtuoso. Next the change of emphasis stylistically when he played with the early modernists and the later realisation that their influence had made an irrevocable mark on his playing which remained with him through the ‘elder statesman’ years. Lester’s progress can be stated more conveniently, simply the Basie days, then the post-Army years from which time people like to insist the “decline” set in. Nonsense of course (at least in the late 40’s early 50’s) though there certainly was change, the erraticism sufficient to be called a decline came much later. Next Coltrane, who began to develop in the Miles Quintet days, where, although often hesitant, his music was vibrant with the portents of greatness to come leading on through the relentless experimentation years with his Quartet which finally broke him through to his final phase, the freer music area.

In Rollins’s case no one has had such clear cut divisions as he, neatly separated by voluntary retirements from the public music scene when he felt (by his own high standards) it was time to rethink his situation, both musically and personally. Yet on return from some of these lay-offs, whilst the direction of his music had seemingly altered drastically, one found on closer examination that often the overall concept was not necessarily in advance of where he left off. I mean this not as criticism, merely to indicate the unpredictability of Rollins the musician. After his most renowned sabbatical which terminated following the ‘Bridge’ legend his recorded work seemed to be shooting off in all directions: straight jazz, bossa-nova, calypso, freeish form. Also his sound, now more declamatory and laced with tonal distortions somehow lacked the majesty and instant communication of before—in fact, a strangely experimental period which retrospectively seemed to achieve little. Nevertheless, whatever Rollins was doing at any particular time there was always the instrumental mastery, power of attack yet concern for dynamics and the instantly recognisable individuality which always riveted the attention. All of which attributes and many others are amply illustrated on the five dates comprising this album: dates which present Rollins in three aspects—as sideman, leader and guest soloist—from what is considered by many to be the years which produced the most consistently brilliant and vital jazz of his career. Certainly his recording activities, done for a variety of labels were at their most prolific.

Of these tracks the December ’57 titles were produced by Norman Granz for Verve to whom Dizzy was under contract with his then big band. In the first date Sonny is frontline partner to Dizzy in two 12-bar numbers of contrasting tempos. ‘Sumphin’ is a funky bluesy track with soulful Bryant piano followed by Rollins beginning with a series of understatements but becoming more convulsive as he proceeds though generally a solo in the lower register of his horn plying us liberally with that no-nonsense sound. ‘Wheatleigh Hall’ must have stables attached because this is a racehorse piece with Sonny uncurling those fantastically long lines with consummate ease and a glorious contempt for bar lines. These tracks first appeared in Britain with two others (with Stitt replacing Rollins) on Clef 33C X 10121, and its Stitt who is an added starter on the second December date.

Again the two cuts selected for this album are in contrast; ‘After Hours’ the Avery Parrish feature from the Erskine Hawkins band days gives Ray Bryant a chance to come on in authentic style complete with walking bass and tremolo treble. Rollins is in similar vein to ‘Sumphin’ and is followed by Stitt who’s tone has a much darker quality than usual. ‘I Know …’, another speedy, is one of the three Rollins high spots on the album; his solo after the opening theme being totally in stop-time, the complex inventions played with an élan so typical of his enormous confidence when faced with this sort of challenge. Stitt also blows a stormer and by now there is realisation that it is not only the darker tone placing him nearer to Rollins but whilst still showing more fluidity than the younger Sonny he, nonetheless, takes on some of the latter’s angular characteristics revealing, I feel sure, on that day he was influenced subconsciously by the strong personality of the other man. Dizzy is—well, Dizzy—which means brilliant playing throughout of the calibre no one else could sustain in this fast company. Finally, listen for that exhilarating lift, provided by Charlie Persip, a drummer who swings everything he has been on yet remains under rated. Clef 33C X 10140 first presented the December 19th titles in Britain (with two other titles), both dates later issued in their entirety on a now deleted double album VSP 15 16.

The centre piece of this album is, surely, the trio and big band things of July ’58 (previously in Britain on MGM C776). Rollins had been using a trio format for the past year so the July 10th date brings forth about the most uninhibited music on the LP. ‘Whats My Name’, an attractive and completely neglected tune with a descending minor-keyed theme, has a prime example of Rollins’s sense of drama. Note the climax to his second solo is a beautifully sustained note which he suddenly cuts and leads gently into the theme reprise. ‘Manhattan’ and ‘Body & Soul’ are the two other high spots and for this writer two of the most beautiful things he has ever recorded. The Rodgers & Hart piece is stretched to the limits by Rollins who begins to embellish the theme almost from the opening notes. Again, however limited the accompaniment the ease with which he takes colossal liberties with the melodic line sets you on your ear but if this amazes dig ‘Body & Soul’! An intro; 2 choruses; a coda—totally unaccompanied!!! Only Rollins and Hawk have dared to try this virtuosity.

For the next day’s recording, arranger Ernie Wilkins provided the charts for this all brass ensemble, not a new assignment for Wilkins who, in 1955, did two sessions for 5 trumpets plus rhythm showing his ability to make much of this potentially limited melodic range. The fact that the project was a resounding success and avoided the inherent possibility of failure similar to Bird with strings where no real effort was made to integrate an equally strong individualist with, on paper, an unsuitable background was due to the perfect balance between the expertise of Wilkins’s scores played by the cream of any New York’s brass team and the star soloists’ desire to play with rather than against the band. For instance, in ‘Grand Street’ and ‘Who Cares?’ notice how Rollins is voiced with the bass and tuba in the opening theme, and elsewhere the continual interplay between the two factions.

Apart from Sonny the only soloists are Nat (‘Grand Street’), Dick Katz (‘Who Cares?’) and the Belgian guitarist René Thomas, who shows on each track and was brought in Rollins’s recommendation which he fully justifies. Everywhere this date, Sonny’s only one with a big band, the sheer joy and ‘love’ in making this music provides exciting listening.

Finally, its Rollins the guest soloist with some old friends from a 1953 recording; three-quarters of the MJQ. The venue was the Music Inn summer jazz resort and in contrast to the July recordings it seems that the lazy summer weather had induced in Sonny a lets-blow-and-see-where-we-get mood. All is very relaxed but he shows some of his usual subtlety in the non-blues ‘Limehouse Blues’ accompanied by (as in ‘Secret Heart’ as well) bass and drums only. Lewis is on the other two tracks but only solos in ‘Doxy’ in his deceptively simple manner. One gets the feeling the intervening years since the 1953 date had seen vast changes in Rollins but with the MJQ consolidation of their earlier aims resulting in their genteel approach was not the most ideal backdrop for the ebullient tenor man. Nevertheless, though not the heart-on-the-sleeve emotion of the July dates or the open ended joie-de-vivre of the Dizzy sessions, the music in meeting is never without interest (previous British release on MGM C818).

So, 16 tracks from a time in his career which, as I say, is often considered to be the peak, and maybe it was … but … after another 6 years lay-off he is now back on the scene and all its sweetness and light and even if collectors since he returned to recording in 1972 are still awaiting the definitive new album let me prophesy—its got to happen. A few weeks before writing this I returned to the scene of his first British triumph (9! years ago) to catch his July ’74 visit. Everything one expects is back in abundance, swing, harmonic subtlety, a pure rich tonal beauty which was never more evident than in an almost totally straight reading of (all things) ‘A House Is Not A Home’. He played this with such authority and staggering instrumental control that any doubts you have that he is still the tenor voice of jazz today can be instantly dispelled. A tenor titan indeed, is Sonny Rollins.

Brian Davis