- Audio CD (August 15, 1995)
- Number of Discs: 1
- Format: Original recording reissued
- Label: Impulse-GRP Records
- ASIN: B000003N7O
- Average Customer Review: 4.2 out of 5 stars See all reviews (13 customer reviews)
- Amazon Best Sellers Rank: #254,327 in Music (See Top 100 in Music)
East Broadway Run Down Original recording reissued
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Top Customer Reviews
Sonny never fully embraced the "new thing" (or "free jazz") of the later sixties, as did Coltrane and Ornette Coleman before him. That's fine; it is no blemish on his superb career. Nevertheless, the title track (20 minutes long) is a bit "outside"--and wonderfully so. It begins with a minimal head repeated a few times by the front line and then leaves space for exploration. The absence of piano diminishes melody, but opens up possibilities for everyone involved. There are some strange, rather haunting, but satisfying sections where Sonny plays his detrached mouthpiece, or so Nat Hentoff tells us in his liner notes (which are quite well done, as usual).
"Blessing in Disguise" is about 12 minutes of more straightforward post-bop--without the always rewarding Mr. Hubbard. Sonny uses his monster lower register for the head, which is infectious. His tone is consistently muscular without being overbearing.
"We Kiss in a Shadow" is the most melodic piece and more of a ballad. It is executed perfectly by the trio.
Few saxophonists can thrive and servive in the stripped down, naked-to-the-world format of drums, bass, and horn. (Trane did, of course, in "Chasin' the Trane" ("Live at the Village Vanguard") and on several of the cuts on the "Lush Life" recording.) Mr. Rollins not only survives in it, but thrives, and even soars, as the last two pieces here demonstrate.Read more ›
The spark is struck from the jagged opening notes of the title tune. It's a 20-minute boiler that receives constant fuel from the multilayered drumming of Elvin Jones. Freddie Hubbard lends his trumpet to this cut and shows why he was considered one of the most promising young talents on that instrument during the '60s. He takes a passionate, perfectly crafted solo that matches the intensity that Rollins brings to the piece. There is a long free stretch that includes Rollins blowing through his mouthpiece. The whole thing serves as a useful reminder that in 1966 jazz musicians were willing to take chances and to challenge their listeners and that there were producers -- Bob Thiele, in this case -- who would allow them to do so.
The other lengthy piece is the aggressive "Blessing in Disguise," which finds Sonny employing tension and release to great effect with the help of another Coltrane stalwart, bassist Jimmy Garrison. Garrison's walking bass behind Rollins spurs the saxophonist to produce some highly exciting playing. He's all over the instrument, riffing up, down and sideways as only Sonny can.
Sonny's first release on Impulse was about as memorable as its title ("Sonny Rollins on Impulse"), but "East Broadway Rundown" reveals the saxophonist's power. Must buy for Rollins fans.
Not that any of these men (or anyone else for that matter) could be said to be Rollins' equal when it comes to thematic improvision, but "EBR" and "On Impulse!" simply lack the artistic coherence (in terms of choice of material, group empathy and joie de vivre) evinced on Rollins' classic recordings of the mid-to-late 1950s.
The title track begins promisingly with Jimmy Garrison and Elvin Jones falling immediately into a powerful mid-to-up tempo groove. Rollins' solo unveils his matchless tone and his developing and intriguing concept of space, and Freddie Hubbard enlivens proceedings but the intensity of the piece tapers off several minutes in and the subsequent experimentation with tone and sound, while interesting at times, ultimately fails to convince. Richard Cook and Brian Morton (Penguin Guide to Jazz on Compact Disc) accurately, if pitilessly, note that "EBR" spends "a long time going nowhere."
"Blessing in Disguise" is an appealing blues with a simple, almost static melodic line which continues Rollins' experimentation with the bare canvas he inscribes on the title track. While more successful than "EBR", "Blessing" also ultimately runs too long and dissipates the energy it had generated.
"We Kiss in the Shadow" is taken at slow-to-mid tempo and Rollins' matchless tone is again on display. He fails, however, to carve one of the startling meditations on a theme for which he is so justly renowned.Read more ›
Most Recent Customer Reviews
I pulled this out this spring (seemed like a good wake up Cd for a fine spring morning) and since I had put a few reviews checked this out. Read morePublished on May 26, 2009 by C. Katz
Relatively raw session from the seminal saxophone player in post-bop mode, exhibits a few atmospheric oddities but more or less follows the straight and narrow of well-honed,... Read morePublished on November 13, 2008 by IRate
Recorded in 1966, East Broadway Run Down sounds wilder than anything Miles Davis was doing at the time, and it appeared three years before Davis's experimental Bitches Brew. Read morePublished on March 31, 2006 by colinwoodward
This is a strange album. Someone had the excellent idea that these four musicians should combine their considerable talents in a recording studio, but it has the feel of a session... Read morePublished on June 19, 2004 by MikeG
I expected a collaboration of these giants - Rollins, Garrison and Jones, with an appearance of Hubbard on the title track - to be nothing short of outstanding. Read morePublished on December 5, 2002 by nadav haber
Let's see- Put together Sonny Rollins with the great Freddie Hubbard (alas only on Track One- But What a Track One! Read morePublished on September 1, 2001 by Peter Harrison