Customer Reviews

Saxophone Colossus

5 star:		(68)
4 star:		(8)
3 star:		(1)
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Without a doubt, one of the five best jazz albums ever made is this 1956 masterpiece. Recorded in a single day at Rudy Van Gelder's living room/studio, Sonny Rollins earned his place as a legend with "Saxophone Colossus". Aided and abetted by powerhouse drummer Max Roach, pianist Tommy Flanagan, and bassist Doug Watkins, the quartet plays with the precision of a chamber orchestra, and swings just as hard. It's not very often that you hear an album where the musicians are so in tune with each other. From the breezy sway of "St. Thomas" to the final notes of "Blue 7", Rollins and company shows how it should be done. This newly remastered edition finally sounds as great as the original vinyl pressing but without the hefty price you'll shuck out for an original copy. No serious jazz fan should be without a copy of this amazing album in their collection.

Sonny Rollins solidified his claim to the top tenor spot of the late 1950's with albums like, "Way Out West" and this one. His tone is warm, full, and flawless as he swings his way through this set with Max Roach on drums, Tommy Flanagan on piano, and Doug Watkins on bass. The calypso flavored "St Thomas" opens the disc and is a textbook example of what makes Rollins great. His playing is effortless, relaxed, and flawless. He displays a soft touch with sensetive interpretation of the standard "You Don't Know What Love Is", and kicks it back into high gear with the hard charging uptempo "Strode Rode". He displays his talent for uncovering unconventional material with a selection from a German musical here titled "Moritat". The final track is the jazz masterpiece "Blue7". Featuring masterful solos by Roach and Rollins this track leaves one feeling Sonny is cooler than most people could hope to be. Saxophone Colossus is one of those rare albums that is packed with legendary performances and future standards, flawless from top to bottom. This cd is essential and is guaranteed to delight.

Though, in my opinion, this is not Sonny's greatest recording, it is perhaps his most influencial and definatly his greatest herald, listed often as one of the 10 greatest albums of jazz. I've read some reviews claiming that other sax players far surpass Sonny's skill, names like Stan Getz and Trane. However, once you listen to this album you'll see why Sonny is called by almost all music critics as the greatest improviser on any instrument in any style of all time, he was actually voted almost unanimously to this title by Down Beat, Jazziz, and Jazz Times in the 90s, as well as perhaps jazz's greatest virtuoso. Not simply for his raw technical ability or immense understanding of harmony and melody, but his flawless ability to make even the most dense and esoteric music seem ever so familiar and listenable in any context. Blue 7 is a monumental example of Sonny's skill, many people don't know that the 'melody' is completly improvised, and though it may not seem, it is a forward look at just how far Sonny will play outside the changes. This is a great starting point for those who want to here the master of melodic improvisation and I highly recommend listening to The Bridge and On Impulse after this record as well.

Sonny Rollins , considered by many to be the quintessential live performer, admittedly felt restricted in a studio. However listening to his masterpiece Saxophone Colossus it is clear that he was on this occasion able to capture some of the energy of a live performance on vinyl. The record is a tour-du-force of Rollins musical vision and mastery of improvisational inventiveness within a melodic and harmonic form that draws the listener in chorus after chorus.
Max Roach's drumming drives every track particularly the classic St Thomas. Roach and Rollins trade 4's on Blue 7 and play off of each other beautifully throughout. Tommy Flanagan's piano playing is subtle and perfectly suited to this group.
This is my favorite Rollins recording other than those made with Clifford Brown and Max Roach's group.

Here we have what is probably Sonny Rollins' most popular album, although I do believe he has much better music on other records, such as G-MAN and THE BRIDGE. However, SAXOPHONE COLOSSUS still measures up to all the hype it receives. This limited edition remaster sounds great and up-to-date, even though it was recorded in 1956!

The group is a quartet made up of Rollins (tenor sax), Tommy Flanagan (piano), Doug Watkins (bass), and the genius that is Max Roach (drums). Roach is undoubtedly one of, if not the greatest jazz drummer of all time. Name a musician, and he's probably played with them at some point in time. The presence of Roach is a defining element that brings the quality of the performance up a few notches.

'St. Thomas,' named after the island Rollins is from, is probably the most popular track. It's a simple song that shapes the whole album with the smooth flowing tenor playing of Mr. Rollins and the syncopated, carribean influenced percussion and drums from Max Roach. I actually listened to this track when I was visiting St. Thomas last summer, and the mood of the song fits with the beauty of the island

My favorite track here is 'Strode Rode,' because I'm a sucker for hard swinging be-bop. It reminds me of the Rollins tune, 'Airegin,' which can be found on COOKIN' WITH THE MILES DAVIS QUINTET and BAGS GROOVE. This track includes a masterful solo by Flanagan - his shining moment on the record.

We also have two standards in 'You Don't Know What Love Is' and 'Moritat,' which is the popular 'Mac The Knife' without the words. I prefer this much better than 'Mac the Knife' because of the outstanding performance by this quartet.

If you are new to the world of jazz, this is a great place to start, and I would recommend it alongside records like KIND OF BLUE and GIANT STEPS.

Saxophone Colossus is, all around, incredible, from the first moment. The album opens with Max Roach, arguably the best jazz drummer ever, setting out a cool latin beat that relies heavily on toms. Then Rollins comes in with the mellow, but somehow exuberant head to "St. Thomas." After a wailing solo from Sonny, Roach launches into a solo, which ranks high among his best work. But the amazing point is when Roach's solo concludes, building, and building, and then the music just explodes into a fast swing beat and another round by Sonny. After a piano solo by Tommy Flanagan which slowly brings the energy down, we're back into the head, still in swing. But after one repetition, the latin groove reappears - Max is in control - to finish out the tune. The rest of the album is full of masterful renditions, including perhaps the best instrumental version of Moritat (Mac the Knife from the Three Penny Opera) on record. For me, this is the best jazz album of all time.

No CD comes with a 100% satisfaction guarantee, but the first minute or so of "St. Thomas" -- with Max Roach setting up the calypso beat on his toms and then Sonny coming in on sax -- is about as close as it gets. What a perfect introduction to Sonny Rollins, and maybe jazz in general. "St. Thomas" is the most memorable performance here, due to the insanely catchy melody, but the other tracks are equally rewarding. "You Don't Know What Love Is" is a superb reading of the ballad. "Moritat" (better known as "Mac the Knife") swings along leisurely while "Strode Rode" chugs along at a more hectic pace. And "Blue 7" is a blues (obviously) that allows all four musicians to stretch out. The two guys that really shine here are Sonny and Max Roach, but you can't forget Tommy Flanagan's always-tasteful piano and Doug Watkin's tight bass playing. Saxophone Colossus is one of the first jazz CDs a jazz newbie should hear (preferably in the crystal-clear 20 bit remaster), and if you like it pick up Sonny's Way Out West as well.

I'll weigh in on the Rollins vs. Coltrane issue. When I first discovered jazz 30 years ago I fell under the Coltrane spell. I couldn't get enough of him, wore out two copies of Live at the Village Vanguard. As I got older I began to prefer the clarity of ideas, mastery of rhythm and melodic storytelling of the great Sonny Rollins. Now there is no contest. I agree with those who believe that Sonny is the greatest improviser of the last 50 years, or more. Every cut on Saxophone Colossus is a jewel. Blue 7 was famously analyzed by musicologist Gunther Schuller as a model of almost architectural structure in improvised music. I prefer to think of it as melodic storytelling. Nobody does it better than Sonny Rollins. This record is one of the finest in jazz, in 1956, now or 100 years from now.

I bought this CD a few months ago and though I liked it immediately, it took some time for it to take its place among my favorites.

It's there now, though I can't say what was responsible for the delay. I was not too familiar with Sonny Rollins' work before this, and perhaps it seemed a bit predictable when compared to the fierce music of someone like John Coltrane, which I loved immediately. But eventually the roundness of the sax and the overall quality of the sound won me over.

I have also noticed that this is one of my jazz CDs that even my non-jazz-loving friends seem to appreciate, something tells me that it would make a great introduction to either the genre or the artist.

Once you get your copy, pay special attention to Blue 7 (track 5), which I think is the best on the CD. Also, if the wonderful track 4, Moritat, seems familiar, you may have heard a very similar version of the song done in the past with the name Mac the Knife.

"Two are better than one because they have a good return for their labor." (Ecclesiastes 4:9)

Great things can happen when we gather together with people of like minds who share our affinities, our purpose, and our vision. This album is a case in point. It is a masterpiece if ever there was one. It has symmetry and synergy. It is the work of several individuals who, when combined together, created a sum that is greater than its parts.

Bringing together all the pieces on "Saxophone Colossus" must have been one heck of a task... Making it sound as effortlessly excellent as it does must have been something else altogether. This is the work of several gifted musical geniuses who are nearly perfectly united in the spirit of their music.

Sonny is amazing on Sax here. I am not an aficionado of Rollins (I am much more familiar with Coltrane and Shorter), but I could not possibly hope to get more from a performer than what Sonny gives here. It is inspiring. This man combines awesome tone and tasteful restraint with the ability to totally cut loose when the music demands it (compare the smooth sounds of "St. Thomas" and "You Don't Know What Love Is" with the rocking "Strode Rode").

The rest of the musicians here a very solid. Tommy Flannagan (piano), Doug Watkins (bass), and Max Roach (drums) are veritable dream team. Roach in particular showcases his great talent in an awesome solo on the last song of the disc.

There is not a weak song on "Saxophone Colossus." The musical selection is courageous. There was a lot of room to make mistakes here--but this group of musicians did not take the opportunity. All things are brought together into a relentlessly beautiful whole. The result of their efforts is a recording for the ages.

I recommend this disc very highly.