#saxophone colossus

[rastronomicals]

4:28 PM EST December 24, 2024:

Sonny Rollins - "Moritat" From the album Saxophone Colossus (1956)

Last song scrobbled from iTunes at Last.fm

File under: Hard Bop

[amyandshaun]

[jazzdailyblog]

Exploring the Frontier of Jazz: Sonny Rollins' "Way Out West"

Introduction: Released in 1957, “Way Out West” by Sonny Rollins is a masterpiece that remains a hallmark of jazz innovation and individuality. This album stands as a bold declaration of Rollins’ musical prowess and his adventurous spirit, taking risks both in its musical content and its visual presentation. Accompanied by bassist Ray Brown and drummer Shelly Manne, Rollins creates a uniquely…

[hughbot]

Saturday morning with Sonny Rollins.

[videostak]

seeing that the sprinsteen darkness on the edge of town and innocent & e street shuffle LPs i got arent selling and have just been sitting in the bins for weeks im like wtf is this world coming to!

[projazznet]

Happy 94th Birthday to the Saxophone Colossus - Sonny Rollins!

Sonny Rollins – Saxophone Colossus

Sonny Rollins — tenor saxophone Tommy Flanagan — piano Doug Watkins — bass Max Roach — drums

[sklogw]

Got any jazz recommendations for a beginner?

some records that i think make a great introduction to jazz:

kind of blue by miles davis

moanin' by art blakey and the jazz messengers

mingus ah um by charles mingus

big steps by john coltrane

saxophone colossus by sonny rollins

once you get more used to this style and want something more off beat i strongly recommend the shape of jazz to come by ornette coleman

you can also discover more records and artists by looking at who else the musicians in the records you like played with. like when i listened to saxophone colossus i was really impressed by the drumming and looked for more records with max roach, and i discovered a lot of great music like that

jazz is so fun to explore, there are so many subgenres spanning many different decades, you're almost guaranteed to find something you'll love

[jazzandother-blog]

TENOR MADNESS listen here 1956 Estudios Van Gelder, Hackensack, Nueva Jersey

(English /Español / Italiano)

Sonny Rollins Composer, Performer, Primary Artist, Sax (Tenor)

John Coltrane Guest Artist, Sax (Tenor)

Red Garland Guest Artist, Piano

Philly Joe Jones Drums, Guest Artist

Paul Chambers Bass, Guest Artist

Rudy Van Gelder Engineer, Liner Notes, Remastering

***

At a time when he was a member of the legendary Clifford Brown/Max Roach sextet, Sonny Rollins was still the apple fallen not too far from the tree of Miles Davis. Tenor Madness was the recording that, once and for all, established Newk as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why a young Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz. With the team of pianist��Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, staples of that era's Miles Davis combos, Rollins has all the rhythmic ammunition to cut loose, be free, and extrapolate on themes as only he could, and still can. This is most evident on his version of "The Most Beautiful Girl in the World," started in its normal choppy waltz time, followed by a sax/drums prelude, a drum solo from Jones, and steamed from there on in, a hot 4/4 romp. Garland is particularly outstanding for keeping up the pace, depth and placement on this one. A bluesy version of "When Your Lover Has Gone," again enlivened by Jones, and the legendary title track with Rollins and John Coltrane trading long solos, and fours with Jones, are tunes that in the mid-'50s defined the parlance "blowing session." "Paul's Pal," in tribute to Chambers, has become a standard in its own right with a bright, memorable melody showing the good humor of Rollins, especially on the second time through, while the saxophonist's ability to sing vocal like tones through his horn is no better evinced as during the light ballad "My Reverie." A recording that should stand, proudly alongside Saxophone Colossus (listen here), as some of the best work of Sonny Rollins in his early years, it's also a testament to the validity, vibrancy, and depth of modern jazz in the post-World War era. It belongs on everybody's shelf.

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En una época en la que era miembro del legendario sexteto de Clifford Brown/Max Roach, Sonny Rollins seguía siendo la manzana caída no muy lejos del árbol de Miles Davis. Tenor Madness fue la grabación que, de una vez por todas, estableció a Newk como uno de los principales saxofonistas tenores, un galardón que, en retrospectiva, ha continuado durante seis décadas completas y da una indicación de por qué un joven Rollins era tan querido, ya que su fluidez, naturaleza caprichosa y sólida construcción de melodías y solos le dieron el título del próximo Coleman Hawkins o Lester Young del jazz mainstream. Con el equipo del pianista Red Garland, el bajista Paul Chambers y el baterista Philly Joe Jones, elementos básicos de los combos de Miles Davis de esa era, Rollins tiene toda la munición rítmica para soltarse, ser libre y extrapolar temas como solo él podía, y todavía puede. Esto es más evidente en su versión de "The Most Beautiful Girl in the World", que comienza con su ritmo entrecortado habitual de vals, seguido de un preludio de saxofón y batería, un solo de batería de Jones y, a partir de ahí, un apasionado ritmo de 4/4. Garland es particularmente excepcional por mantener el ritmo, la profundidad y la colocación en esta canción. Una versión blusera de "When Your Lover Has Gone", de nuevo animada por Jones, y la legendaria canción principal con Rollins y John Coltrane intercambiando largos solos y cuatros con Jones, son melodías que a mediados de los años 50 definieron la jerga de "sesión de soplado". "Paul's Pal", en homenaje a Chambers, se ha convertido en un estándar por derecho propio con una melodía brillante y memorable que muestra el buen humor de Rollins, especialmente en el segundo compás, mientras que la capacidad del saxofonista para cantar tonos vocales a través de su trompeta no se evidencia mejor que durante la balada ligera "My Reverie". Una grabación que debería estar, junto a Saxophone Colossus (listen here), como uno de los mejores trabajos de Sonny Rollins en sus primeros años, y que también es un testimonio de la validez, la vitalidad y la profundidad del jazz moderno en la era posterior a la Segunda Guerra Mundial. Debería estar en la estantería de todos.

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Quando era membro del leggendario sestetto Clifford Brown/Max Roach, Sonny Rollins era ancora la mela caduta non lontano dall'albero di Miles Davis. Tenor Madness è stata la registrazione che, una volta per tutte, ha consacrato Newk come uno dei principali sassofonisti tenori, un riconoscimento che, a posteriori, si è protratto per ben sei decenni e che dà un'indicazione del perché il giovane Rollins fosse così amato, dato che la sua fluidità, la sua natura stravagante e la solida costruzione di melodie e assoli gli hanno fatto guadagnare il titolo di nuovo Coleman Hawkins o Lester Young del jazz mainstream. In coppia con il pianista Red Garland, il bassista Paul Chambers e il batterista Philly Joe Jones, punti fermi del combo di Miles Davis di quell'epoca, Rollins ha tutte le munizioni ritmiche per lasciarsi andare, essere libero ed estrapolare le melodie come solo lui poteva, e può ancora fare. Ciò è particolarmente evidente nella sua versione di "The Most Beautiful Girl in the World", che inizia con il suo solito ritmo di valzer spezzettato, seguito da un preludio di sassofono e batteria, da un assolo di batteria di Jones e, da lì, da un appassionato ritmo in 4/4. Garland è particolarmente eccezionale nel mantenere il ritmo, la profondità e il posizionamento in questa canzone. Una versione bluesy di "When Your Lover Has Gone", sempre animata da Jones, e la leggendaria title track con Rollins e John Coltrane che si scambiano lunghi assoli e quattro con Jones, sono brani che a metà degli anni Cinquanta definivano il gergo delle "blowing session". "Paul's Pal", in omaggio a Chambers, è diventata uno standard a sé stante, con un brano brillante e memorabile che mette in mostra il buon umore di Rollins, soprattutto in seconda battuta, mentre l'abilità del sassofonista di cantare toni vocali attraverso la sua tromba non è meglio evidenziata che durante la leggera ballata "My Reverie". Una registrazione che dovrebbe essere considerata, insieme a Saxophone Colossus (listen here), uno dei migliori lavori di Sonny Rollins nei suoi primi anni di vita, ma anche una testimonianza della validità, della vitalità e della profondità del jazz moderno nell'era del secondo dopoguerra. Dovrebbe essere sulla libreria di tutti.

Source: allmusic by Michael G. Nastos

[lboogie1906]

Theodore Walter “Sonny” Rollins (September 7, 1930) leading jazz innovator was born in New York. He was raised by his grandmother who had migrated to the US from the Virgin Islands. He came of age in Harlem in the late 1940s and early 1950s where he was influenced by the remnants of the Harlem Renaissance and the WWII jazz era.

Music was significant in his household. His brother and sister both studied the violin and piano. He adopted the piano as his instrument. As new jazz forms became popular in the early 1940s, he began playing the alto saxophone at the age of 11 and progressed to the tenor saxophone by 1946. His inspiration came from jazz greats Louis Jordan, who played alto saxophone, and Coleman Hawkins, who played tenor saxophone.

He and his musician friends created their band and began experimenting with a new jazz style called bebop. By his 18th birthday, he developed a reputation in Harlem as a leading performer of bebop. In 1949, he made his recording debut with Babs Gonzales. In the same year, he recorded with J.J. Johnson and Bud Powell, the great bebop pianist. In the early 1950s, he worked with Miles Davis, who was a rising trumpet performer. He joined the Clifford Brown-Max Roach Quintet in 1955.

He continued to build his reputation as an innovative artist and an accomplished musician. His most successful album was Saxophone Colossus in 1956. The first album in which he used a trio of saxophones, drums, and double bass was called Way Out West and was released in 1957. He was recognized as the most innovative tenor saxophonist in jazz. In 1965 he wrote the film score for the movie Alfie. Twenty years later, he released his first solo recording, cleverly entitled Solo Album.

After more than a half-century as a jazz performer, he won his first Grammy Award in 2000 for his performance entitled This Is What I Do. In 2004, he won a second Grammy for the composition Without A Song and the Recording Academy’s Lifetime Achievement Award.

He continues to record and perform. #africanhistory365 #africanexcellence

[somethingvinyl]

Virgo Vinyl Challenge day 4: High Fidelity! When I think of really perfect hifi sound, I always think jazz—the production on a certain era of jazz albums is the realest thing ever captured. And if you ask me what’s my best-sounding jazz album, that’s a crowded category… but this Analogue Productions mono pressing of the incredible Saxophone Colossus is certainly in the running!

[rastronomicals]

1:58 PM EDT April 17, 2024:

Sonny Rollins - "Blue" From the album Saxophone Colossus (1956)

Last song scrobbled from iTunes at Last.fm

File under: Hard Bop

[sinceileftyoublog]

Hurray For The Riff Raff Album Review: The Past is Still Alive

(Nonesuch)

BY JORDAN MAINZER

On The Past is Still Alive, the latest and best studio album from Hurray For The Riff Raff, Alynda Segarra looks back at a specific era of their life to pay tribute to chaos and imagine what could come from it. Their seemingly legendary but very real past is well-known by now: At age 17, Segarra left their home in the Bronx and hopped freight trains, played in a hobo band, and settled in New Orleans, a formative period of simultaneous struggle and freedom. That combined ethos has pervaded all Hurray For The Riff Raff records, but on The Past is Still Alive, Segarra's finally telling the tale, applying what they learned to the present day.

Notably, Segarra started recording The Past is Still Alive a month after their father died; while his voice appears literally on the album's final track "Kiko Forever", his musical uplift acts as a buoy for Segarra throughout the whole thing. Though they had worked with producer Brad Cook and drummer Yan Westerlund prior, Segarra had never recorded with the rest of the album's laundry list of stellar contributors, from Meg Duffy of Hand Habits, and Mike Mogis to guest vocalists Anjimile, Conor Oberst, and S.G. Goodman. That Segarra conquered a period of vulnerability to record the album with bonafide strangers is a terrific feat, but not necessarily surprising: This is a person who has the ability to treat even their fellow band members like the audience, recipients of some remarkable stories full of biography and symbolism alike.

Throughout The Past is Still Alive, Segarra alternates between timeless metaphor and hyper-specific details. On "Buffalo", they remark, simply, that "Some things take time," whether presently forming love or society's death-by-1000-cuts treatment of the oppressed. Segarra sings over strummed acoustic guitar and Mogis' pedal steel, the perfect accompaniment to earned wisdom. "Hawkmoon", on the other hand, is more electric, full of Duffy's bluesy riffing, akin to the epic sound of The Navigator, fitting for a song inspired by a lasting figure: the first trans woman Segarra ever met. As if to project to a stadium full of folks looking to honor Ms. Jonathan, Segarra sings a heartland rock-style salute: "She opened up my mind in the holes of her fishnet tights / Dildo waving on her car antenna and / I could've ridden shotgun forever." Pseudo title track "Snakeplant (The Past Is Still Alive)" juxtaposes both memories of chaos and lessons learned. As Segarra recounts shoplifting and having sex on top of an island of trash, they make sure to tell you what they took from a life among "the barrel of freaks": "Test your drugs / Remember Narcan / There's a war on people, don't you understand?" Duffy's distorted guitar and Matt Douglas's skronking saxophone create beauty from Segarra's warnings of disorder.

Some of the best songs on The Past is Still Alive are incredibly life-affirming. Opener "Alibi" is a plea to drug-addicted childhood friends, a promise that, "Maybe we'll start a band," on a song that introduces the swath of instrumentation present throughout the record, like gentle piano, steady drums, echoing guitar, and pedal steel. "Ogallala" and "Colossus of Roads" prioritize survival in a harsh world--Segarra compares themselves to the musicians still playing on the deck of a sinking Titanic--but not without a wish that the world itself would burn. Westerlund's crashing drums take the former to its logical conclusion, while the latter, inspired by the 2022 Club Q shooting in Colorado springs, makes the case for empathy along the way to the apocalypse. "Wrap you up in the bomb shelter of my feather bed," Segarra sings, fighting cruelty with compassion atop Phil Cook's mournful dobro and organ and Westerlund's funereal drum rolls.

It's a line in "Hourglass" that sticks with me the most among the lyrical and instrumental brilliance of The Past is Still Alive. Recounting feeling out-of-place among the status-obsessed, Segarra shifts their perspective. "Suddenly, a boulder's just sand in an hourglass," they sing. Though they spend much of the album concentrating on time and place, they recognize that our mark on earth is statistically insignificant, something we can use to our advantage rather than something that makes us feel small. What many in society consider important--celebrity, power, money--is volatile compared to the power of your own agency, of giving life to the past.

[jazzdailyblog]

"Soul Station" by Hank Mobley: A Timeless Journey into Jazz Mastery

Introduction: In the vibrant tapestry of jazz history, certain albums stand out as masterpieces that define an era. “Soul Station” by Hank Mobley, released in early October 1960, is undeniably one such gem. This article delves into the intricacies of the album, exploring its creation, critical reception, and enduring legacy in the world of jazz. The Birth of “Soul Station”: Recorded on…

[jazz-song-of-the-day]

Jazz Song of the Day 5/16/23

“St. Thomas” by Sonny Rollins. Saxophone Colossus (1957).

[luvetlux]

Der 93jährige Sonny Rollins ist eine der ganz wenigen noch lebenden Jazz-Legenden. Rollins hat mit allen Größen gearbeitet, die Äras geprägt haben, wie Max Roach, Dizzie Gillespie, Thelonius Monk und John Coltrane bis hin zu Don Cherry und Herbie Hancock. Ich verneige mich.

St. Thomas taken from the album Saxophone Colossus (1957)

[rilshock]

Milestones - Miles Davis (1958 Review)

One of the three Miles Davis albums I have heard, we'll get to another one of those albums much later, Milestones was a transitional album for Davis in 1958. It was still showing him in his Bebop and Hard Bop phase, but he was also showing hints of his newfound knowledge of "modal jazz", where you Improvise not over chord changes, but modes. Davis would perfect this album on his seminal album Kind of Blue a year later, but since that's not part of the "10s" Revisited series it's gonna be a while before I review that album. Though the one time I did hear the album back in 2021, it has a really good stereo mix for 1959. Anyways, the album case in point. We start off with the opening track. Dr. Jackle, which I thought was just fairly average fast bebop. A rare moment other than the 1984 New Edition self-titled where I though that the opening track was the weakest on the whole album. But back to the song, all I can say about this song is that the double bass, played by Paul Chambers, sounds like the strings are being bowed rather than fingerpicked when played really fast. Much like on Sonny Rollins' Saxophone Colossus, the second track is a complete contrast from the previous in terms of speed, this case being the song Sid's Ahead. This is the longest song on the album at 13 minutes. Because it's at a slower speed, the improvisation is much more noticeably melodic, and I like how much minimalism the backbeat of the bass and drums are backing the horn solos before the piano, played by Red Garland, joins in during the second half of the song. The speed picks back up with track 3, Two Bass Hits, for some reason I can see the melodic intro and outro of this song somewhat fitting as background music in the scene of an 90s or very early 2000s anime. Unlike Dr. Jackle I actually enjoyed the Improvisation here a lot more, It's not as in your face and all over the place, but there are some melodic elements still there. Not a bad song for the side one closer. Side 2 is the golden run of this album, back to back home runs. It starts off with the albums title track, Milestones(originally called Miles). What I said about the background music in an anime applies here a lot more. This song is also one of the earliest noticeable hints showing Davis's experimentation with Model Jazz that he would later perfect on albums like Kind of Blue a year later. Moving from between G Dorian or A Aoliean. The next song, Billy Boy, is a beautiful sounding song with Red Gardland fronting in the song. Just a piano, bass and drums, no horns. The album closes with Straight No Chaser, another long song at almost 11 minutes long, which is also my favorite "long song" on this album. With each member giving time to improvise in their solos, everyone sounds remarkable. The only other similarity this album has to Saxophone Colossus, is that both albums are exactly 9 out of 10s

Listen to the album here