Road Shows, Vol. 2
$0.78 extra savings coupon applied at checkout.
Sorry. You are not eligible for this coupon.
Frequently bought together
Customers who viewed this item also viewed
Customers who bought this item also bought
The saxophone colossus delivers a stellar new album of live performances from 2010. Joining songs recorded in Japan with Sonny's working band are four recorded at his 80th-birthday show at the Beacon in NY: I Can't Get Started and Rain Check with Roy Hargrove; In a Sentimental Mood with Jim Hall, and the 20-minute Sonnymoon for Two , his first-ever public performance with Ornette Coleman (it's amazing)!
From the Artist
"I believe that jazz is the music which best expresses the stirrings of the human soul," says Rollins. "I feel tremendously privileged to have succeeded to some extent in a music that includes the likes of Louis Armstrong and Fats Waller--all of these guys who I thought were such tremendous people putting out all of this positive music," Rollins says. "It was all that I could ever dream--to be involved in this."See all Editorial Reviews
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
Now 82, Sonny Rollins is both jazz's greatest living soloist, across the entire history of jazz matched only by Louis Armstrong and Charlie Parker (and maybe Lee Konitz and Peter Brotzmann), and the greatest life force in jazz. After a series of amazing albums in the Fifties -notably Saxophone Colossus and Way Out West- and one in the mid-Sixties, The Bridge, his recorded production has gone up and down. He's never played badly, given what a brilliant soloist he is--but often his later albums have lacked the concision and focus that made the Fifties albums absolute killers.
And so to this album, which celebrates Sonny at 80 in concerts in New York and Japan, with a stellar cast of supporting musicians, including even Ornette Coleman. The album is uneven in quality but the good parts, especially Sonny's extended solos, are knockouts. It's disappointing that more sparks weren't struck in the one piece ("Sonnymoon for Two") where Rollins and Coleman play: together. They are both giants and Rollins's playing was clearly influenced by Coleman in the sixties. "Sonnymoon" isn't a bad cut, but Coleman -perhaps because of mechanical problems with his instrument, which was borrowed--is uncharacteristically timid. Rollins isn't, though. His playing while he waits for Coleman, who took forever to come on stage after he was announced, is sensational -propulsive, melodically exciting, and filled with the joy of playing. His solos on that piece -there are more than one- possess all you love in a Rollins solo: melody lines stretching across chorus after chorus (how does he sustain a solo so long?); the tone, which once seemed so harsh but now merely seems assertive; the inventive way he weaves quotes from other songs into his solo; his control of tempo and dynamics. He hasn't lost a step with age. (And at 76 myself, I find that encouraging!) I could have done without the cut with Roy Hargrove (Ellington's ballad, "Rain Check").
Hargrove is a fine trumpeter but his sensibilities don't align with Rollins's in my opinion. And as much as I love Jim Hall, I'd rather have had another cut with Rollins on it in an album dedicated to this Grand Old Master of jazz.
This is not an essential album in the Rollins corpus but it's darned good, it's lots of fun, and it makes you feel good about the state of jazz.