Customer Reviews

A Night At The Village Vanguard (The Rudy Van Gelder Edition)

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Before this live album was recorded saxophonist Sonny Rollins dabbled with a number of different sized groups. Eventually he settled on the trio with either drummer Pete La Rocha or Elvin Jones (pre John Coltrane classic quartet) and bassist's Wilbur Ware and Donald Bailey. A NIGHT AT THE VILLAGE VANGUARD was the first recording ever made at the esteemed jazz club. I don't know what recording techniques were used, but some have expressed their reservations about the sound quality. I would like to dispell those reservations up front. This album does not sound quite as good as some later live recordings from the club. But if you turn it up it sounds practically as good. This is one of those albums that sounds better as you play it louder. Fiddle with your EQ a bit and you will be satisfied.

This double disc set is THE one to get-don't even consider earlier partial releases of material from this gig. Here all the music is properly sequenced and you can enjoy the interplay of the trio, the often goofy introductions by Rollins, the chatter between him and the audience, and you can hear him counting off the beginning of tunes which is kind of fun. You get a nice set of standards here including "A Night In Tunisia", "I've Got You Under My Skin", and "What Is This Thing Called Love?" as well as some great originals like "Sonnymoon For Two" and "Striver's Row".

The jazz trio is a bit easier to listen to when you talk about a piano-based trios like Sonny Clark or Bill Evans. Without the piano to provide a solid chordal foundation for the melody, it is easy to get lost. The bassist can only provide so much of a tonic root. Think of it as a vine that grows up and wraps itself around a wooden post or trellis; the vine adventures off to one side and then another, but always comes back to its foundation, its root: the post. In jazz, the piano and bass usually make up that post, the center around which the soloist works. Without the piano, the soloist is even more free to explore. This can be dangerous as the tonal boundaries of the music become less defined and blurry-in essence, the soloist may lose his or her way much more easily. And without the piano, to where does the soloist return? This certainly *could* have been the case with this recording. The fact that Rollins never loses his way is a testament to his brilliance and complete command of his instrument. It may take you a few listens to acclimate your ear to this piano-less trio, but when everything clicks for you, you'll be loving life. On one of his first albums as leader, Sonny Rollins was already showing us the future of jazz.

Essential.

At some point in 1956 Sonny Rollins developed from being a promising new voice on the tenor saxophone to one of the great jazz improvisers. From then until his temporary withdrawal from the jazz scene at the end of the decade he produced a series of fine recorded sessions, including a classic album aptly titled `Saxophone Colossus'. This Village Vanguard recording from 1957 is valuable for capturing Rollins in good form in a live setting accompanied only by bass and drums. Of additional interest is that the drummer was another jazz colossus treading his own path to greatness: Elvin Jones.

As these were live sessions, it's not surprising if some of Sonny's playing here is sometimes more diffuse than in the more tightly constructed pieces on his studio albums from this period. Nevertheless there is a lot of inspired and energetic playing here. Tracks such as "Sonnymoon for Two", "Softly as in a Morning Sunrise" and "A Night in Tunisia" are often singled out as highlights; but I haven't yet come across any appreciation of "What Is This Thing Called Love?" as the most remarkable performance. This track reminds me of two other Rollins classics: "There's No Business Like Show Business" (on the earlier album, `Worktime') and "Three Little Words" (`Sonny Rollins on Impulse' - 1965). Like them it shows Sonny paring down and reconstructing a well-known standard with characteristic resourcefulness and wit, playing with motifs from the tune and with time and phrasing, and managing to sound both supremely relaxed and intensely concentrated at a moderately fast tempo. Notice how at the beginning he exploits the lack of a piano accompaniment to create harmonic ambiguity: by playing with just a few notes from the tune he teasingly hides its identity for a few bars (it sounds at first as though he is going to launch into "Toot, Toot, Tootsie").

Here and there on these sessions, but particularly on "What Is This Thing Called Love?" you can also hear Elvin Jones beginning to cut loose from his influences and to anticipate the kind of percussion playing he was to develop in the next few years, reaching a peak in his work with John Coltrane in the 1960s. For example, on this track he already shows that ability both to maintain the basic pulse and to appear to subvert it with the use of complex polyrhythms. This begins to happen during Sonny's solo and becomes increasingly adventurous in Elvin's. There is a particularly telling moment at the end of Elvin's long solo, when, after the original tempo seems to have been lost in a succession of polyrhythms, Rollins comes back in, immediately picking up the original tempo as if both players had rehearsed it down to the fraction of a beat. If it weren't for that moment when Sonny re-establishes control, one could suppose that on this track Elvin is the leader, taking the music where he wants it to go (it is he who has the first as well as the last word!). So for different reasons I think this track is the `classic' of the album and one which gives an intriguing anticipation of things to come - not only of Elvin's later work with Coltrane and others but also of the increasingly abstract style which Sonny was to develop in the next decade.

To describe these performances as `dialogues' between Sonny and Elvin would be to unfairly slight the contribution of bassist Wilbur Ware who plays well throughout, reliably maintaining the trio's harmonic foundation, and produces some good melodic motifs in his solos on "Softly as in a Morning Sunrise". But it's fair to say that his more conventional playing helps to set in relief the occasional glimpses into the future we get from his partners.

Whether as an historical document or in its own terms as an exhilarating blowing session, this is a highly recommended album. The sound is mono only, but for a club date is good - clear, realistic and well balanced between the three instruments.

The only other collaboration between Sonny and Elvin that I know of is the mid-1960s album, `East Broadway Rundown'. You might not like the long `free jazz' title track, but the remaining two excellent trio tracks are available on a CD in the Priceless Jazz series, along with some other good Rollins performances from the period (Priceless Jazz GRP98762- see my Amazon review).

I have alwys found this the most satisfying, and certainly the most stimulating, of Rollins's recordings. He chose on this occasion to work with just a trio of himself, bass and drums. A lesser jazzman could not have pulled this off, but in Rollins's case one feels never bored, as he keeps coming up with new, exciting, highly musical and well-expressed ideas, showing astonishing versatility and inventiveness. Listen to his work on familiar tunes like "A Night in Tunisia", "Old Devil Moon", "Softly as in a Norning Sunrise", for example, to hear how he rephrases and mines these classics: always aware of the essential melody, but always probing its implications. His rhythmical sense is second to none, as his venturesomeness in this area. The other musicians are also excellent in the way they respond to, and stimulate, the leader. I have never tired of Rollins's music on this recording (and not often on any of his recordings, for that matter), and here he shows himself clearly one of the most important tenor players ever, and certainly one of the leaders on this instrument at the time the recording was made. Indeed, the music he was producing at this time was possibly more gratifying to listen to than Coltrane's, even though Coltrane at his best could be yet more innovative, annd emotionally moving. This is an excellent recording, which I unhesitatingly recommend as a great addition to anyone's jazz library, and possibly as good a way as any to have Rollins represented as the essential musician he is, in any compilation of important jazzmen. - Joost Daalder

Just as there is a top shelf reserved for the greatest jazz studio-recorded albums, there is also a special place reserved for the greatest live performances captured on tape. Jazz itself is a form that is often at it's fullest expression when experienced with the spontaneity and creative fuel that only a live show offers. Just think for a moment of some of the legendary live performances that have added to the cannon of jazz recordings: Yusef Lateef's "Live at Pep's", Ahmad Jamal's "Complete Live at the Pershing Lounge 1958", Art Blakey's "At the Cafe Bohemia, Vol. 1", Bill Evans's "The Complete Village Vanguard Recordings, 1961", Duke Ellington's "Ellington At Newport 1956", Charlie Parker and company's "Jazz at Massey Hall" , Charles Mingus' "Mingus at Antibes", John Coltrane's "Live at Birdland", Miles Davis' "In Person Friday and Saturday Nights at the Blackhawk, Complete", Eric Dolphy's string of albums at the five spot, , Roland Kirk's "Bright Moments", Shelly Manne's "At the Blackhawk, Vol. 1", Art Pepper's "The Complete Village Vanguard Sessions", and the list goes on and on. Well with Sonny Rollin's "A Night at the Village Vanguard" we get an album that not only belongs on that list, but that should be right at, or near the top of it. Firstly this is due to the importance of the album, which rests with the fact that it was the first album to be recorded live at the Village Vanguard, a feat copied many times over to great effect by the best in the business. According to some musicians the Vanguard had within it's confines the means for the "perfect" sound, and this statement has been shown to be true after even a cursory survey of the mountain of albums recorded there. The other reason that this album is so important is that of all the major jazz figures none was more freed by a live setting than Sonny Rollins. Many critics of note have commented on the differences between Rollins's studio efforts and his live performance. It seems Rollin's had a way (and perhaps still does) of mesmerizing a room, of building on his musical logic, of adding to his searing solo's, of letting his humor shine through, and of reaching a creative climax that was more conducive to the live stage. Secondly the greatness of this album, historical context aside, is that the frozen moments it captures contain some jaw-droppingly great music. Rollins took the trio format he made famous on "Way Out West" and let loose with the accompaniment of the red hot Elvin Jones, and the great Wilber Ware, both of whom really get a workout here (it should be noted that on a couple tracks we get the wonderful Pete la Roca on drums and Donald Baily on bass). Just as a live performance freed Rollins, the trio format gave him a freedom that had very little structure. As a result Rollins is literally front and center and the fierce energy he expends could power a small country. Elvin Jones (who at the time in 1957 had yet to join Coltrane) and Wilber Ware have the task of not only keeping up with Rollins but of filling in some of that wide open, even dangerous, space, and it is they who keep this fragile sonic structure from falling into complete chaos. But this is all Rollins, all the time, with no where to hide and no desire to; in this regard it is also a nice contrast to his other blue note albums where as on "Sonny Rollins, Vol. 1" and"Sonny Rollins, Vol. 2" he was somewhat obscured, or at least his solo time was shortened, due to all the other talent on those dates. The strongest impression one takes from this album is, besides that heart-thumping feeling of uncut energy, admiration for the way Rollins and company handle the space they have to deal with. They are most certainly on the edge at all times, and that feeling of being on step from falling off into the darkness is exhilarating, both to the listener and to the musicians. Simply put this is one of the great live albums of all time, for it's importance, but most importantly for it's searing music.

It's almost hard to fathom that it's been almost 50 years since Sonny Rollins recorded the historic "Night At The Village Vanguard" for Blue Note. Even half a century later, this jaw-dropping performance still leaves one awestruck by it's beauty and power.
Even as far back as 1957, Sonny Rollins was experimenting with different ensemble configurations and at the Village Vanguard, unveiled a combo that was unique for its time - a tenor sax/bass/drums trio which already proved to be successful on "Way Out West" from earlier in the year. Because of the lack of any chordal instruments, the musical interplay between Rollins, bassist Wilbur Ware and a rising star drummer in the form of Elvin Jones is extremely tight and each musician is given plenty of space to stretch out without going too far off the deep end.
Every piece included in this set is a gem. It's almost like being there in the middle of the Village Vanguard listening to the Rollins trio giving their all. Even the early take of "A Night In Tunisia" which features Donald Bailey and Pete LaRoca in the place of Ware and Jones is a sure-fire performance.
"A Night At The Village Vanguard" is definitely a must for Sonny Rollins fans as well as anyone who appreciates Jazz. The remastering by original recording engineer Rudy Van Gelder is absolutely stunning although there is a slight amount of undistracting tape hum heard occasionally.
Four years later, John Coltrane would record a legendary album at the Vanguard which would make the venue a household name. However, it should be noted that not only was Sonny's recorded first, it was also the first ever recording to be made at the Village Vanguard.
Definitely Essential Sonny Rollins!!!

Sonny Rollins is said to have had great nights and nights when he played but his mind was on other things.
One thing I am certain of - on this night at The Village Vanguard - Rollins mind was focused on playing, and the results are fantastic.
In the trio setting Rollins' saxophone takes center stage even more than that usually does. He recorded the interesting "Freedom Suite" and "way out west" with only drums and bass, but I think this time the results are the best. It may have been working with the young Elvin Jones, or just a coincidence, but Rollins' humor and talent for interesting phrases never sounded better.
It seems to me that by 1957 - Rollins was the most developed modern tenor player around. I find it hard to imagine Coltrane at this time playing in a trio format and producing such wonderful results, although this may never be known since as far as I know Trane did not record in such a format.
I recommend this double CD along with great Saxophone Colossus as the best Rollins' cd's and two of the best tenor cd's ever.

I've never been one to fuss over the sound quality of jazz recordings. And while this live recording may not measure up to Blue Note's typically pristine sonic standard, I still dig it immensely. The trio is in fine form, breezing through pared down interpretations of even the most kitschy material. Check out Sonny's solo on "Sonnymoon For Two"--you'll see how he develops the most complex lines out of a very simple theme. I like Elvin Jones in this context, too--he brings a kind of floating quality to the music. He and Wilbur Ware swing like mad, but also create this delicious tension. All in all, a very sound recording.

There have been many famous recordings done at this famous club in NYC, but this is the most memorable alongside the Bill Evans Trio in '61. But this was the first and perhaps the best of Sonny Rollins' live trio recordings. One could say "Way Out West" as another fine example of Sonny's freer approach to improvisation but there's no contest when he is caught live without the inhibiting environment of a studio. I've worn out both Volumes One & Two so this 2 CD set is a "blessing in disguise" (to use one of Sonny's future titles). Elvin has never sounded more rawer and spontaneous and Ware is just about the most perfect bassist Sonny has ever had not discounting Bob Cranshaw or Ray Brown. If you want an introduction to his music, you can start here!! Either "Sonnymoon for Two" or "Ole Devil Moon" can set you off.

Surely, Amazon, this deserves your "essential recording" moniker. Rollins is uninhibited here, and his playing is mesmerizing. Oh, and there is a fellow named Elvin Jones on drums, not to mention Wilbur Ware on bass. Rudy Van Gelder's remastering makes this sound like it was recorded last week. Don't miss this one!

If someone were to ask me, "what is jazz?" I might postulate, "A NIGHT AT THE VILLAGE VANGUARD by Sonny Rollins." Leave it to BLUE NOTE. On November 3, 1957 Jazz History was being made at The Village Vanguard by Sonny Rollins, Elvin Jones, and Wilbur Ware. (Pete La Roca, and Donald Bailey replace EJ and WW on one take.) This monaural LIVE set could quite possibly be the most impressive feat of Live Jazz Improvisation on The Planet Oyth. This was one of Rollins' first public appearances as the leader of a combo and the very first recording of jazz inside The Vanguard.

These sides are going to puzzle some of the novices or non-musicians of jazz appreciation. You need to get past the mono sound recording. (What, none of you listen to Charlie Parker?) This is not background jazz to be played at your next trendy cocktail party. (Buy some Cal Tjader or Martin Denny CDs for that.) But, you Squares might want to invite over some real beatnik jazz freaks, open some wine, and blow a little boo. (Speaking of beatniks, Kerouac worked and recited at The Vanguard.) This music requires active participation on the part of the listener. If you are attentive, you're in for a real treat.

To quote Rollins in a recent interview: "Jazz is a surprise, informed by your fundamentals in music. I'm a subconscious player."

No truer words were ever spoken. It's as significant a declaration today, as it might have been back in 1957. Here, Sonny Rollins & Co. are laying down an improvisational dispensary of free flowing Hard Bop and avant-garde Swing that had no equal at the time of its inception and has since become one of the most talked about sessions in the history of this music. Melodies, motifs, and phrases are flying so fast, you'll wonder if Rollins is thinking ten moves ahead like a Master Chess player. How can his fingers and breath possibly keep up with what's happening in his magnificent noodle? Two words: Great instinct. Rollins is a powerfully adept improvisationalist and hard swinging musician with an endless wellspring of beautiful color in his fine *ss repertoire. Yeah Daddy-o, herein Sonny Rollins does some miraculous soloing. Mais oui, hipsters. Oodles of noodles. Scads of solitaires. And ain't that what we're her for, Gypsum?

I'm almost certain Max Gordon had to renovate The Vanguard after this Show. These cats positively burned the joint down to the ground. I'd give my left nut to have been there.

My favorite Disc is TWO. My favorite cut is SONNYMOON FOR TWO. But, the entire set is pure Tenor Magic. If you're serious about jazz, you seriously need this session in your collection!

Enjoy.