Sonny Rollins
Timeless Classic Albums - 2018 - Sonny Rollins [5d's Flac]
DOL - Vinylogy VinylReplica Cd Collection
- 1958-Freedom Suite [Vinylogy.Cd.Flac]
https://elcieloyeldedo.blogspot.com/2019/07/oscar-pettiford-trail.html
- 1956-Saxophone Colossus [Vinylogy.Cd.Flac]
- 1956-Sonny Boy [Vinylogy.Cd.Flac]
- 1962-The Bridge [Vinylogy.Cd.Flac]
- 1956-Thelonious Monk-Brilliant Corners [Vinylogy.Cd.Flac]
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Sonny Rollins Saxophone Colossus
- 1956 -
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Recorded June 22, 1956 by Rudy Van Gelder at the latter's studio in Hackensack, New Jersey
1st pressing with West 50th Street address on both labels and back cover
Bass – Doug Watkins
Drums – Max Roach
Piano – Tommy Flanagan
Tenor Saxophone – Sonny Rollins
Recorded By – Van Gelder
Liner Notes – Ira Gitler
Mastered By – RVG
Supervised By [Supervision] – Bob Weinstock
Cover – Hannan
Comentario:
En The Guardian - "Their Favourite Albums"
por John Fordham
https://www.theguardian.com/music/musicblog/2011/aug/30/brilliant-corners-thelonious-monk
First published on Tue 30 Aug 2011 16.00
[. . .] When I was discovering jazz as a student, Thelonious Monk seemed to epitomise the artistic originality, indifference to rules and guileless eccentricity (he liked weird hats, and was given to shuffling dances onstage) that I loved about the music. Monk's piano solos clanged with dissonance, bumped along in hopping runs or glowered with baleful silences, and his astonishing compositions (now recognised as modern musical landmarks, regardless of genre) had a strange, inelegant beauty that brusquely reinvented what melody, harmony and rhythm could mean. [. . .]
Listado de Temas:
Lp Side A
01 - St. Thomas - 07:19 min.
Composición de: Sonny Rollins
02 - You Don't Know What Love Is - 07:00 min.
Composición de: Gene de Paul, Don Raye
03 - Strode Rode - 05:39 min.
Composición de: Sonny Rollins
Lp Side B
04 - Moritat - 10:49 min.
Composición de: Kurt Weill, Bertolt Brecht
05 - Blue 7 - 12:11 min.
Composición de: Sonny Rollins
5 Temas. Tiempo Total: 00:42:58
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Reseñas:
Saxophone Colossus is a studio album by American jazz saxophonist Sonny Rollins. It was recorded on June 22, 1956, with producers Bob Weinstock and Rudy Van Gelder at the latter's studio in Hackensack, New Jersey. Rollins led a quartet on the album that included pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach. Saxophone Colossus was released by Prestige Records to critical success and helped establish Rollins as a prominent jazz artist.
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| Portada edición francesa |
In 2017, Saxophone Colossus was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant.
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| Diversas portadas en europa |
Studio album by Sonny Rollins
Recorded June 22, 1956
Studio Van Gelder Studio in Hackensack
Released 1956/1957
Length 39:58
Genre Hard bop
Label Prestige
Producer Bob Weinstock, Rudy Van Gelder
There are five tracks on the album, three of which are credited to Rollins. "St. Thomas" is a calypso-inspired piece named after Saint Thomas in the Virgin Islands. The tune is traditional and had already been recorded by Randy Weston in 1955 under the title "Fire Down There". (In the booklet provided with the boxed set, The Complete Prestige Recordings, Rollins makes it clear that it was the record company that insisted on his taking credit.) In any case, the piece has since become a jazz standard, and this is its most famous recorded version.
The final track, "Blue 7," is a blues piece, over eleven minutes long. Its main, rather disjunct melody was spontaneously composed. The performance is among Rollins' most acclaimed, and is the subject of an article by Gunther Schuller entitled "Sonny Rollins and the Challenge of Thematic Improvisation". Schuller praises Rollins on "Blue 7" for the use of motivic development exploring and developing melodic themes throughout his three solos, so that the piece is unified, rather than being composed of unrelated ideas.
The original 22 June 1956 session was recorded by Rudy Van Gelder. A CD version, mastered by Steve Hoffman, was released in May 1995 by DCC Compact Classics; no additional performances were included. Another remastered version, this time by Van Gelder, was released on 21 March 2006. The album's title was devised by Prestige Records' in-house publicity director Robert "Bob" Altshuler.
Independent sources have differed in their reporting of the album's release date. According to The Mojo Collection, it was released in the autumn of 1956, and AllMusic also lists that year as the one of its release, while an August 1957 issue of Billboard magazine listed the album among records released in the period between March 16 and July of that same year. Reviewing in April 1957, Billboard said "Rollins' latest effort should really start musicians buzzing", as "the tenorman is one of the most vigorous, dynamic and inventine of modern jazzmen", and "everytrack is packed with surprises, tho Rollins develops each solo with great architectural logic". Ralph J. Gleason reviewed the album later in June for DownBeat, writing: "Almost as if in answer to the charge that there is a lack of grace and beauty in the work of the New York hard-swingers comes this album in which Rollins displays humor, gentleness, a delicate feeling for beauty in line, and a puckish sense of humor. And all done with the uncompromising swinging that has characterized them all along."
In a retrospective review for AllMusic, Scott Yanow called Saxophone Colossus "arguably his finest all-around set", while German musicologist Peter Niklas Wilson deemed it "another milestone of the Rollins discography, a recording repeatedly cited as Rollins' chef d'oeuvre, and one of the classic jazz albums of all time".
The Guardian
https://www.theguardian.com/music/musicblog/2011/aug/30/brilliant-corners-thelonious-monk
My favourite album: Brilliant Corners by Thelonious Monk
Guardian and Observer writers are picking their favourite albums – with a view that you might do the same. Here, John Fordham examines the brilliant corners of Thelonious Monk
First published on Tue 30 Aug 2011 16.00
John Fordham
When I was discovering jazz as a student, Thelonious Monk seemed to epitomise the artistic originality, indifference to rules and guileless eccentricity (he liked weird hats, and was given to shuffling dances onstage) that I loved about the music. Monk's piano solos clanged with dissonance, bumped along in hopping runs or glowered with baleful silences, and his astonishing compositions (now recognised as modern musical landmarks, regardless of genre) had a strange, inelegant beauty that brusquely reinvented what melody, harmony and rhythm could mean.
Brilliant Corners, recorded for the Riverside label in 1956 with an A-list band including saxophonist Sonny Rollins and former Charlie Parker drummer Max Roach, was the most compositionally ambitious session in the former church pianist's decade-long jazz career thus far. In a legendarily fractious session, the title track's growling theme was so treacherous in its lurching phrasing and abrupt time changes that a band this good still spent 25 takes on it, and the final version was only possible by splicing two takes together. But Brilliant Corners was no calculated technical highwire act, but a piece of audaciously adventurous composing that has never lost its power to startle and seduce over the decades.
From Monk's opening stabbed chords (as if he were chipping rock) to the bone-shaking notes, guttural horn harmonies and sudden thematic gallops, Brilliant Corners is gripping – as are the composer's jangling improvisations, and Rollins's lazily unfolding and huge-toned tenor solo. The session's full of captivating variety too – from the urban graininess of Hornin' In to the relaxed groove of Let's Cool One, the surreal mix of Monk's chordal bluntness and the coyness of a glockenspiel on Pannonica to the bleary rootsiness of the wonderful blues Ba Lue Bolivar Ba Lues Are. Arriving just before the late-50s free-jazz upheavals of Ornette Coleman, John Coltrane and Cecil Taylor, this was music that showed just how powerfully song-form harmonies and the tempered scale could be wrenched into new shapes.
Discogs
https://www.discogs.com/Sonny-Rollins-Saxophone-Colossus/release/3934932
Sonny Rollins – Saxophone Colossus
Label Prestige – LP 7079, Prestige – PRLP 7079
Format: Vinyl, LP, Album, Mono
Land: US Veröffentlicht: Apr 1957
Genre: Jazz Stil: Bop
Trackliste Verberge Mitwirkende
Unternehmen usw.
Record Company – Prestige Records Inc.
Pressed By – Abbey Record Manufacturing Co., Inc.
Printed By – GEM Albums, Inc.
Published By – Prestige Music
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Sonny Rollins Sonny Boy
1956
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Recorded at Van Gelder Studio in Hackensack, New Jersey on
Track 4 October 5, 1956.
All other selections Recorded December 7, 1956.
Originally released in 1961.
Comentario:
AllMusic critic Scott Yanow states: "Tour de Force is a more logical purchase, although the music on this CD does feature the immortal tenor saxophonist in fine form".
Personnel:
Sonny Rollins – tenor saxophone
Kenny Dorham – trumpet (backgrounds track 4)
Kenny Drew (tracks 1-3 & 5), Wade Legge (track 4) – piano
George Morrow – bass
Max Roach – drums
Listado de Temas:
01 - Ee-Ah - 06:57 min.
Composición de: Sonny Rollins
02 - B. Quick - 09:14 min.
Composición de: Sonny Rollins
03 - B. Swift - 05:19 min.
Composición de: Sonny Rollins
04 - The House I Live In - 09:25 min.
Composición de: Earl Robinson, Lewis Allen
Comentario: Piano – Wade Legge
Trumpet – Kenny Dorham
05 - Sonny Boy - 08:23 min.
Composición de: Al Jolson, Buddy G. De Sylva, Lew Brown, Ray Henderson
5 Temas. Tiempo Total: 00:39:18
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Reseñas:
Sonny Rollins – Sonny Boy
Label: Original Jazz Classics – OJCCD-348-2, Prestige – P-7207
Format: CD, Album, Reissue, Remastered
Land: Germany
Veröffentlicht: 1989 Genre: Jazz - Stil: Bop, Hard Bop
Unternehmen usw.
Copyright (c) – Fantasy, Inc.
Manufactured By – ZYX-MUSIC GMBH
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Remastered At – Fantasy Studios
Mitwirkende
Bass – George Morrow
Design – Don Schlitten
Drums – Max Roach
Liner Notes – Joe Goldberg
Piano – Kenny Drew (tracks: 1 to 3, 5)
Recorded By – Rudy Van Gelder
Remastered By – Phil De Lancie
Supervised By [Supervision] – Bob Weinstock
Tenor Saxophone – Sonny Rollins
AllMusic Review
by AllMusic
Recorded in 1956 but issued in 1960, Sonny Boy combines three tracks previously heard on Rollins' 1957 release Tour de Force, omitting two ballads sung by Earl Coleman) with the title track, popularized by Al Jolson in the '20s, and an instrumental version of "The House I Live In" from the Frank Sinatra film of the same title.
The blues "Ee-Ah" features a laid-back introduction by pianist Kenny Drew and a remarkable extended solo by Rollins. The aptly titled "B. Quick" and "B. Swift" are lightning-fast improvs spotlighting exceptional solos by all members, especially drummer Max Roach. Of the previously unissued tracks, "Sonny Boy" has a bounciness unusual in '50s jazz, and "The House I Live In" (featuring trumpeter Kenny Dorham and pianist Wade Legge) manages to be simultaneously stately and swinging. They're hardly mere leftovers, and should have been issued long before they were.
https://www.allmusic.com/album/sonny-boy-mw0000203974
Release Date 1957
Duration39:03
Recording DateOctober 5, 1956
Recording Location
Hackensack, NJ
New Jersey
1962-The Bridge [Vinylogy.Cd.Flac]
Timeless Classic Albums
Sonny Rollins 5d's [Flac]
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Comentario:
Recorded at RCA Victor's Studio B, New York City on January 30, 196 (B2), February 13, 1962 (A2,A3,B3), February 14, 1962 (A1,B1)
Performance
Sonny Rollins – tenor saxophone
Jim Hall – guitar
Bob Cranshaw – bass
Ben Riley – drums
Harry "H.T." Saunders – drums (replaces Riley on "God Bless the Child")
"God Bless the Child" recorded on January 30, 1962
"Where Are You?", "John S." and "You Do Something to Me" recorded on February 13,
"Without a Song" and "The Bridge" on February 14, 1962
Production
Bob Prince – original session producer
Ray Hall – engineer
Chuck Stewart – cover photography
George Avakian – liner notes
Production of the first CD Reissue, 1992
John Snyder – digital producer
Steve Backer – executive producer
Joe Lopes and Jay Newland – engineers
Ira Gitler – liner notes (in addition to the original text by Avakian)
Listado de Temas:
Lp Side A
01 - Without A Song - 07:30 min.
Composición de: Rose, Eliscu, Youmans
02 - Where Are You - 05:11 min.
Composición de: Adamson, McHugh
03 - John S. - 07:46 min.
Composición de: Sonny Rollins
Lp Side B
04 - The Bridge - 05:59 min.
Composición de: Sonny Rollins
05 - God Bless The Child - 07:29 min.
Composición de: Herzog, Holiday , 1962 (A1,B1)
06 - You Do Something To Me - 06:51 min.
Composición de: Cole Porter
6 Temas. Tiempo Total: 00:40:46
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Reseñas:
The Bridge is a studio album by jazz saxophonist Sonny Rollins, recorded in 1962. It was Rollins' first release following a three-year sabbatical and was his first album for RCA Victor. The saxophonist was joined by the musicians with whom he recorded for the next segment of his career: Jim Hall on guitar, Bob Cranshaw on double bass and Ben Riley on drums.
Studio album by Sonny Rollins
Recorded January 30 and February 13-14, 1962
At RCA Victor Studio B, New York City
Released 1962
Genre Jazz, hard bop
Length 40:36
Label RCA Victor LPM-2527
Producer Bob Prince
History
In 1959, feeling pressured by the unexpected swiftness of his rise to fame, Rollins took a three-year hiatus to focus on perfecting his craft. A resident of the Lower East Side of Manhattan with no private space to practice, he took his saxophone up to the Williamsburg Bridge to practice alone: "I would be up there 15 or 16 hours at a time spring, summer, fall and winter". His first recording after his return to performance took its name from those solo sessions. Critical reception to the album, which was not the revolutionary new jazz approach many expected, was mixed. Rollins, who had been considered groundbreaking in his thematic improvisations, was supplanted in critical buzz by the growing popularity of Ornette Coleman's free jazz.
Reception
If not a tremendous departure from Rollins' earlier style, the album was nevertheless quite successful. Tagged by AllMusic as "a near-classic", the recording was declared by Inkblot Magazine to be "one of the greatest albums from one of jazz's greatest musicians". It is one of the albums for which the long-active and prolific Rollins receives his greatest praise.
The album was inducted into the Grammy Hall of Fame in 2015.
Re-releases
The album was re-released in 1976 in Japan and 1977 in the U.S. It was relaunched in 1992 on CD by Bluebird/RCA/BMG and remastered from the original master tapes for CD in 2003 for the Bluebird First Editions series. It has also been issued many times in other formats, for example as an audiophile LP with 45 rpm (Classic Records, 2000). It is also part of The Complete RCA Victor Recordings (1997).
https://www.allmusic.com/album/the-bridge-mw0000678485
AllMusic Review
by Scott Yanow
Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including "Without a Song" and "God Bless the Child") plus two fiery originals, highlighted by the title cut. The interplay between Rollins and Hall is consistently impressive, making this set a near-classic and a very successful comeback.
AllMusic User Reviews
The Ranting Recluse - January 8, 2016
After a meteoric rise to fame in the 1950s, legendary tenor sax man Sonny Rollins had walked away from it all by the decade's end, embarking on an introspective, almost monastic three-year quest to improve his technique, during which time he would spend up to 16 hours a day playing his sax, alone, on New York City's Williamsburg bridge, and that solitary period of time spent practicing on the bridge is what gives this album its title. Although critical reception to the album was initially mixed, as many had hoped Rollins would have re-emerged from his sabbatical having developed some revolutionary new technique or with a markedly evolved style that differed more strongly from his earlier work, it was nonetheless a commercial success, and has since become regarded as one of his finest albums, even being inducted into the Grammy Hall of Fame in 2015. Featuring Rollins in a new quartet that also included Jim Hall on guitar, Bob Cranshaw on bass and Ben Riley on the drums, the album has a spare, subdued sound, which might be why the ballads are generally more evocative and memorable than the uptempo numbers, with Rollins' haunting take on the standard "God Bless the Child" being my pick for the standout track, as well as the one that probably best reflects what it must have been like to spend all that time playing alone on that bridge.
https://www.discogs.com/Sonny-Rollins-The-Bridge/release/3176600
Label: RCA Victor – LPM/LSP-2527, RCA Victor – LPM 2527
Format: Vinyl, LP, Album, Mono
Land: US Veröffentlicht: 1962
Genre: Jazz - Stil: Hard Bop
Unternehmen usw.
Recorded At – RCA's Studio B
Copyright (c) – Radio Corporation Of America
Pressed By – RCA Records Pressing Plant, Rockaway
Mitwirkende
Bass – Bob Cranshaw
Drums – Ben Riley, H. T. Saunders
Engineer [Recording] – Ray Hall
Guitar – Jim Hall
Liner Notes – George Avakian
Producer – Bob Prince
Anmerkungen
Recorded at RCA Victor's Studio B, New York City on January 30, 196 (B2), February 13, 1962 (A2,A3,B3), February 14, 1962 (A1,B1).
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- 1956-Saxophone Colossus [Vinylogy.Cd.Flac] SR56SC.1907.rar - 256 MB
- 1956-Sonny Boy [Vinylogy.Cd.Flac] SR56SB.1907.rar - 217 MB
- 1962-The Bridge [Vinylogy.Cd.Flac] SR62TB.1907.rar - 259 MB
Timeless Classic Albums - 2018 - Sonny Rollins [5d's Flac]
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