The Bridge [ORIGINAL RECORDING REISSUED] [ORIGINAL RECORDING REMASTERED]

Sonny Rollins

Product Details

• Audio CD (June 17, 2003)
• Original Release Date: January 30, 1962
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: RCA
• ASIN: B00009PJRN
• In-Print Editions: Vinyl  |  MP3 Download
• Average Customer Review: 5.0 out of 5 stars See all reviews (16 customer reviews)
• Amazon.com Sales Rank: #17,979 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com
Widely acknowledged as the most significant and accomplished tenor saxophonist in the world, Sonny Rollins's recording legacy is nothing short of extraordinary. Beginning as a sideman in the late-'40s, he worked with Charlie Parker, Fats Navarro, Bud Powell, Max Roach, Clifford Brown, Thelonious Monk, Art Blakey, and Miles Davis. Since recording his first date as a leader in 1954, Rollins has recorded dozens of albums for numerous labels, eventually settling in for a long stay on Milestone. The Bridge, recorded in 1962 for RCA Records, is one of Rollins's most dramatic recordings: it marks a return from three years of self-imposed retirement and its title track is a nod to the stories that Rollins had spent much of that time practicing by himself on the Williamsburg Bridge. The lineup for The Bridge is unusual for the time, a quartet featuring guitar (Jim Hall) instead of piano. The rest of the band serves simply to frame Rollins, whose time off only improved his already awesome abilities. Along with the title track, the album's standouts include "Without a Song" and "God Bless the Child." --Fred Goodman

Customer Reviews

Most Helpful Customer Reviews

15 of 15 people found the following review helpful:

5.0 out of 5 stars Welcome back, Sonny., August 30, 2005

By	Michael Stack (North Chelmsford, MA USA) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

In 1962, it had been three years since Sonny Rollins had released a record. Frustrated with what he felt was his own limitations, he took sabbatical to work on his form, practicing at the Williamsburg Bridge. This odd habit led to his comeback album being named "The Bridge". A quartet record featuring guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, invariably this album and it's story is the stuff of legends, and deservedly so.

Rollins is on fire throughout-- playing mostly standards (with only two originals), it sounds as if he was itching to get in the studio again, his playing is powerful, focused ("Without a Song"), lyrical (one of the definitive readings of "God Bless the Child") and emotive ("Where Are You?"). Rollins' support is generous and sympathetic, particularly on "God Bless the Child", where Cranshaw in particular feels like he's breathing in time with Rollins.

All in all, a worthwhile effort, and an essential point in Rollins' catalog. It also may be the best place (either this or "Saxophone Collosus") to begin exploring Rollins' catalog. Highly recommended.

8 of 8 people found the following review helpful:

5.0 out of 5 stars Stunning., March 8, 2006

By	Christopher Calabrese (Watertown, CT, USA) - See all my reviews (REAL NAME)

Following a three year hiatus, some influential figures in the New York City jazz scene of the early 1960's began to notice Sonny Rollins practicing on the Williamsburg Bridge. Rollins has always been his harshest critic, and some thought the tenor sax god would never return. However, in 1962, Rollins did reappear on the scene with the stunning classic jazz release, THE BRIDGE.

Rollins would deviate from the typical quartet of the day, dropping the piano and adding the element of guitar - Jim Hall in this case. Rounding out the group are Ben Riley on drums and Bob Cranshaw on bass, who would go on to appear on countless Rollins recordings up to and including his contemporary works. The absence of piano is nothing new to Rollins, who often performed in trios during this same time period, most notably for a few months with the obscure bassist, Henry Grimes, who up until recently was feared dead until his return to New York City just last year.

The addition of Jim Hall adds an element that creates a certain 'aliveness' to the music, which is evident on the two Rollins originals here, 'John S' and the title track. Both of these tracks are superb and the group swings hard at times. On 'John S' the main theme is played twice, similar to Rollins' playing with Thelonius Monk during the mid-50's, except in this case there is no piano. Shortly after the main theme, the time doubles, and Rollins is magnificent in his lyricism and tone. The same can be said for the title track, which is a real barn-burner! In addition to the two Rollins originals, there are four standards of that time, most notably Billie Holiday's 'God Bless The Child.'

Sonny's ability to play with and against the flow of Hall's guitar makes this an essential release for any jazz collection. It is easily accesible for your typical jazz newbie, but at the same time makes for a fine listening experience many times over. In addition to THE BRIDGE, those who are interested in Sonny Rollins should also check out SAXOPHONE COLOSSUS and the Thelonius Monk classic, BRILLIANT CORNERS.

4 of 4 people found the following review helpful:

5.0 out of 5 stars Sonny Rollins, Bridge, March 20, 2005

By	Chris Covais - See all my reviews

Obviously, this was the first album upon Sonny Rollins' return to public appearence and recording. And with his return he was more powerful, more creative and inventive then ever before.

For the album, Rollins got Jim Hall on guitar, substituting a pianist, and two fairly unknown musicians who were just starting to get recognition, Bob Cransaw on bass and Ben Riley on drums. All together the four men make an extraudinary group.

As on many albums before this Sonny likes to play with the melodies. He's very commical and obscure in his playing. Originals like "John S." are examples of this.

The song was featured on the Ken Burns Jazz Documentary, as many have explained in old reviews, and is easily the best tune on the album. Jim Hall and Sonny get a nice sound blending their two instruments. The tune is very tricky. One highlight is, about the first 12 bars of Sonny's solo where he uses one note eight times in a row, and then plays with it after he is done. Ben Riley's drum solo brings Sonny in back to the melody.

There are two ballads here, and three other swinging tunes. The album opens up with Sonny's rendition of Without A Song. And on the fast paced, Bridge, the boys deliver nice solos.

This was Sonny's comeback album, and it is probaly one of the top five albums in his cataloge, right up against Tenor Madness, Newk's Time, Saxophone Colosuss, Freedom Suite, and Worktime.

This is my favorite Rollins release, due to the material and Sonny's playing. The man is gifted with brilliance, and it comes out in his playing and on albums such as this one.