Customer Reviews

Worktime

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Sonny Rollins and company don't waste any time going to work on the classic "Work Time." The all-star band of Ray Bryant, George Morrow and the incomparable Max Roach punch-in quickly with the blazing "There's No Business Like Show Business." The telepathic interplay between Sonny and Roach is a trademark of this album, and it's particularly evident on the album's next two tracks, "Paradox" and "Raincheck." A lovely ballad, "There Are Such Things," is the fourth track, and the band clocks-out at 5 much the way they began with the break-neck swing pace of "It's All Right With Me." If only I could have this much fun at work.

Sonny Rollins, Worktime, a very underrated album. It opens up with There's No Buisness Like Show Buisness. Every time I play it, my father gets drawn to it, and if in a trance, comes to my record player.

Parodox, a latin like swing, is great. Raincheck, nice melodies, nice grooves. Some other nice ballads. This is a wonderful piece of work by Newk in early 1955, fresh out of the Cliff Brown, Max Roach Quintet, and done with of a drug addiction.

Newk was always at his best in every setting, but I feel this one captures him rather, more inspired than usual. Maybe it's because it was just another record date, and no pressure. The ideas just came puring out of his horn without effort. And the result was magical!

I got this record on vinyl from a friend whose dad, a jazz pianist, left it behind when he skedaddled. Good thing he left this, because I discovered it was a rare gem. It starts with a brisk rendition of Irving Berlin's There's No Business Like Show Business, that cooks, swings, and manages to be earnest and humorous simultaneously. Rollins is really working here, and he wants you to be entertained.

Then he does three original tunes, Raincheck, Paradox, and There Are Such Things, each one a classic well composed tune that could be a standard, if perhaps someone would write lyrics for it.

He finishes as he begins, with a show tune, this one Cole Porter's It's All Right With Me from Can Can. Sonny really loves well written tunes, and this one is one of Cole Porter's wellest written. He does it justice with his nimble rhythm, his robust sound, and his unbridled musicallity.

Only five tunes on this record, but each one a jewel, and on each one Mr. Rollins really gets down to business. Work Time.

Wow. In any other musician's catalogue, this might stand as the crowning achievement. Sonny's got Way Out West and Newk's Time in the offing to match it, but Work Time is pretty nearly in that league ... and it may be one of Sonny's most consistently enjoyable albums to listen to. Work Time? They should have called it Play Time, because you'll rarely hear Sonny Rollins having so much fun, just revelling in his own creativity and prodigious technique, trying things in his deconstructions of tune and time that would send a lesser saxophonist tumbling. This is really Sonny Rollins playing without a net. And if that weren't enough, it's also the greatest performance ever recorded by Max Roach, who is all rolling thunder and shimmering cymbals and shifting rhythms. He provides this enormous propulsive drive, but he's also an Ed Blackwell-like texturalist, years before Blackwell. It makes Work Time sound way ahead of its time. (And you got to hand it to Prestige for ensuring this album cult status with that so-bad-it's-good cover art. It's so "punk rock", it pretty much assured for all time that only the most hardcore jazzheads were ever going to discover this album.)

In his insightful chapter on Sonny Rollins in his book, Jazz Masters of the Fifties, jazz historian and critic Joe Goldberg comments about Worktime, recorded on December 2, 1955 at Rudy Van Gelder's Hackensack, NJ studio, that "many, including his close friend, the soprano saxophonist Steve Lacy, still feel that it is the best record Rollins ever made." Goldberg goes on to describe Worktime in some detail: "Working with a rhythm section made up of Roach, Brown-Roach bassist George Morrow, and pianist Ray Bryant, Rollins turned such an unlikely tune as There's No Business Like Show Business, a nearly forgotten ballad called There Are Such Things, a breakneck-tempo It's All Right With Me and two other songs [Rollins' Paradox and Strayhorn's Raincheck] into a powerful, moving statement of purpose. Playing with a deliberately 'harsh' tone, but with little vibrato, Rollins was obviously in command of his instrument. There was, with the release of Worktime, a major new jazz voice."

Highly recommended for all fans of Sonny Rollins and also for fans of 1950s hard-bop jazz.

I'm not sure why this obscure set is not as highly regarded as Saxophone Colossus. This disc smokes. Sonny and Max Roach trade hot licks like a couple of dudes snarfing down buffalo wings at the local Hoot-ers. Max's drum solo on "There's No Business..." is worth the price of admission alone. His playing is so musical he sounds like he's playing the melody of the chorus just like a horn or piano player. Amazing. Anyone who loves the classic Clifford Brown/Max Roach group (which Sonny played in at the end of its existence) should grab this ASAP. The only downside is the short playing time of the disc (about 35 min).

(While I like the original jacket cover better) This is, by far, Sonny Rollins' most dynamic session for Prestige. From Sonny's "O.K. Fellas", at the outset to the very last note, this album SLAMS! Max Roach brings on Sonny, who brings on ALL the excitement of "Show Business". Sonny and George Morrow (bass) handle the bridge, then, after a brief, sharp solo, Ray Bryant "walks" Max Roach through the greatest hi-speed drum solo ever heard! Sonny's "Paradox" explains it's theme, before getting down to some EXTREMELY serious swinging. Ray Bryant and Dr. Roach have brought along their usual greatness, kicked up a notch, and George, who avoids the spotlight, is excellent. Note the 'fours' between Sonny and Max throughout. "Raincheck", intro(ed) by Sonny and Max, is a little more sped up, but equally hard swung. After Sonny's typically great solo, Ray and Max are at it again. "There Are Such Things" is the 'relaxer', and well worth the admission price. Both Sonny and Ray's solos are expressions of brilliance. Cole Porter's "Alright With Me" is taken at 'Show Business' speed. Sonny drives in low, then blast off. Ray gets off a few hi-speed thoughts, then Sonny/Max 'fours', and out. For high-class excitement that swings.....THIS IS IT!!!!

Wow. In any other musician's catalogue, this might stand as the crowning achievement. Sonny's got Way Out West and Newk's Time in the offing to match it, but Work Time is pretty nearly in that league ... and it may be one of Sonny's most consistently enjoyable albums to listen to. Work Time? They should have called it Play Time, because you'll rarely hear Sonny Rollins having so much fun, just revelling in his own creativity and prodigious technique, trying things in his deconstructions of tune and time that would send a lesser saxophonist tumbling. This is really Sonny Rollins playing without a net. And if that weren't enough, it's also the greatest performance ever recorded by Max Roach, who is all rolling thunder and shimmering cymbals and shifting rhythms. He provides this enormous propulsive drive, but he's also an Ed Blackwell-like texturalist, years before Blackwell. It makes Work Time sound way ahead of its time. (And you got to hand it to Prestige for ensuring this album cult status with that so-bad-it's-good cover art. It's so "punk rock", it pretty much assured for all time that only the most hardcore jazzheads were ever going to discover this album.)

Sonny Rollins, Worktime, a very underrated album. It opens up with There's No Buisness Like Show Buisness. Every time I play it, my father gets drawn to it, and if in a trance, comes to my record player.

Parodox, a latin like swing, is great. Raincheck, nice melodies, nice grooves. Some other nice ballads. This is a wonderful piece of work by Newk in early 1955, fresh out of the Cliff Brown, Max Roach Quintet, and done with of a drug addiction.

Newk was always at his best in every setting, but I feel this one captures him rather, more inspired than usual. Maybe it's because it was just another record date, and no pressure. The ideas just came puring out of his horn without effort. And the result was magical!