“Enthusiasm” palpably exudes from the following insert notes by the esteemed Jazz critic and author Leonard Feather which he penned for the double LP Shelly Manne and His Men "Live" at The Manne Hole [Contemporary S-7593/94 and Original Jazz Classics OJCCD 714/15-2].
And why not?
They were written as part of the continuing celebration associated with the opening of Shelly Manne’s Jazz club - The Manne Hole - just five months earlier in November, 1960.
Recorded in performance at the club on March 3-5, 1961, the tracks on this double LP were the first “live” recordings ever made at The Manne Hole.
Exuberance; excitement; ebullience - all were a part of the experience for Jazz musicians and Jazz fans when Shelly gave the gift of this club to the Los Angeles Jazz Community. During its 12 year history, the sounds of Jazz emanating from The Manne Hole would be enjoyed on an international scale as Jazz fans from many parts of the world visited this unique setting.
Over the years, I’ve read many of Leonard’s liner notes to Jazz albums. In my opinion, those that follow are among his best. He couldn’t have composed them for a more deserving subject.
The Host
SHELLY MANNE'S is one of the few successful operations of its kind, namely: a club actually financed by a name jazzman who plays there himself. In associating himself with a spot for which he could not only put up his own money, but also guarantee his own physical, swinging presence. Shelly knew he was gambling in an area that has long been one of the most hazardous in show business. His investment, in effect, was 40% faith, 40% courage, and 20% cash. Certainly the undertaking was not an attempt to get rich quick. In any case, that would be a near-impossibility without a liquor license and a larger room. Money was not his main object, for with or without the club, he has been as busy and successful a musician as any in the country. "What I really wanted was a place where I and other musicians would be free to play jazz without compromising musically in any way!'
But running a club has its responsibilities. "It's strange how different things look when you see them from the other side,” he said recently. "When I was a musician only, I'd get up on the stand and all I'd see would be people selling things. I never thought about all the loot that has to go out before any rolls in.
"What's been wrong with the night club business for so many years, as far as jazz is concerned, is that there's been too much of an atmosphere of pressure. People don't like to feel they are being forced to do anything—buy a drink, or favors, or food, or even listen to the music. In our place I think we let the audience and the musicians enjoy themselves. When the band is really swinging, even the non-jazz people in the audience know it. But I never want to establish a concert hall atmosphere or make it so rigid that people are afraid to feel at home!”
"As far as my own playing is concerned, I feel much freer in The Manne-Hole than I have ever felt in a club before. Working here for me has been one of those gigs where you literally can't wait to get there and start playing. And the band has gotten a freer and more exciting sound, partly I think as a result of the room!'
The Manne-Hole's manager, a stockholder in the corporation, is Amsterdam-born Rudy Onderwyzer, an ex-accountant. Rudy had all the qualifications except one: at the outset he had little sympathy for the modern sounds, and was, in fact, a traditionalist who liked to play tailgate trombone. But in a very short time, he says, "just by working at Shelly's I got a whole education in modern Jazz.”
The Club
SHELLY'S MANNE-HOLE at 1608 North Cahuenga Boulevard is in what could be called (except by those who write it off as a heartless, impersonal town) the heart of Hollywood. Providing incandescent evidence that Hollywood has a warm spot in its heart for jazz, The Manne-Hole immediately impresses the visitor as friendly, intimate, and relaxed.
Suspended from a beam halfway across the room is a large key on a chain, the kind seen outside keymakers' shops. On the walls are many of Shelly's Contemporary album covers, as well as a variety of relics: old newspaper clippings, faded photographs, all kinds of drawings, paintings, murals, and tapestries. Just beyond the bandstand to the left as you enter, a ladder painted on the wall leads up to a painted manhole cover, its lettering in reverse on the ceiling. Another manhole, looking more like a painted drumhead, has Shelly's photographed smile welcoming you from the rear of the room, over the legend "Founder and Owner. 1960 A. D"
The bandstand is clearly visible from all the booths, or from the row of barstools at a counter facing it; and the music, thanks to a first-class public-address system installed by Contemporary engineer Howard Holzer,. is eminently audible.
The Manne-Hole opened its doors November 4, 1960, with the same policy that is currently in operation. Shelly's own quintet works there every Friday, Saturday, and Sunday, with an outstanding singer as an added attraction. Among those who have played a series of week ends are blues singer Big Miller, Helen Humes, and Ruth Price, who was recorded at The Manne-Hole during the nights when these sides by Shelly's group were taped. The results can be heard on Contemporary M3590, stereo S7590.
The musical policy of The Manne-Hole is unique in that a different combo can be heard each of the four weeknights Manne's group is not working. Among the groups featured have been those of Frank Rosolino, Terry Gibbs, Joe Maini, Jr., Phineas Newborn, Jr., Russ Freeman, Paul Horn, Teddy Edwards, Dexter Gordon, and Barney Kessel.
The Manne-Hole attracts listeners who are genuinely interested in jazz, from teen-agers just shedding their rock and roll cocoon to older enthusiasts who remember Shelly as that promising young lad who took Dave Tough's place in the Joe Marsala band in 1940. No hard liquor is served at The Manne-Hole; beer and wine are available along with an assortment of soft drinks and, welcome surprise, edible food.
The Men
SHELDON (SHELLY) MANNE was born June 11, 1920 in New York City. His father and two uncles were drummers. Alto sax was Shelly's first instrument. He studied drums with Billy Gladstone. He made his professional debut playing on trans-Atlantic liners, and made his first record with Bobby Byrne's band in 1939. In the next three years, before entering the U. S. Coast Guard, he played in the bands of Joe Marsala, Bob Astor, Raymond Scott, Will Bradley,and Les Brown. He played in Stan Kenton's band off and on from 1946 to 1951; during this period he also worked with Charlie Ventura, Bill Harris, Norman Granz's Jazz at the Philharmonic, and Woody Herman. Settling in California in 1952, he worked with Howard Rumsey's Lighthouse All-Stars and with the Shorty Rugers-Shelly Manne Giants. After his appearance in The Man with the Golden Arm, for which he also instructed Frank Sinatra in the drumming sequence, he formed his own combo. Since late 1955, he has divided his time between this group, movie and TV work (including occasional appearances as an actor), and free-lance recording studio work of all kinds. He has also begun to compose and is responsible for jazz scores of two feature films. Shelly and his wife, Flip, a former dancer, live in Northridge, California, where their acreage also provides a home for three of their six horses.
SECONDO (CONTE) CANDOLI was born July 12, 1927 in Mishawaka, Ind. He studied trumpet with his brother Pete, who is four years his senior. He came to prominence in the Woody Herman band of 1945-6. He visited Scandinavia in 1947 as a member of Chubby Jackson's sextet. Heard with Stan Kenton in 1948 and '52-4, he was also with Charlie Ventura in 1949, led his own group in Chicago for a time, and for a long while was at The Lighthouse with Howard Rumsey. He has done extensive freelance work in Hollywood in more recent years and has been in great demand for studio record dates.
RICHARD (RICHIE) KAMUCA was born July 2.1, 1930 in Philadelphia, where he studied at the Mastbaum School of Music. Long a West Coast resident, he has played in the bands of Kenton, 1951-2; Herman, '51-5; Chet Baker and Maynard Ferguson, '57; Howard Rumsey, '57-8; Shorty Rogers, '59; and since then with Shelly's Men. Heard on records with all the above groups as well as with Al Cohn, Bill Perkins, Johnny Richards, and Manny Albam, he has developed during the past year or two from a capable musician into a performer of marked originality.
RUSSELL DONALD (Russ) FREEMAN was born in Chicago May 28, 1926. Long a favorite among Hollywood jazz musicians, he has worked for the combos of Howard McGhee and Dexter Cordon (in 1917), and with Art Pepper, the late Wardell Gray, and Rumsey's All-Stars when Shelly was in the group. After playing with Chet Baker and the Rogers-Manne Giants, he joined Shelly Manne in 1955 and has been with him continuously except for brief trips to the East Coast and Europe with Benny Goodman in 1958-9. CHARLES
CURTIS (CHUCK) BERGHOFER was born June 14, 1937 in Denver. Although he has studied with Bob Stone and Ralph Pena, he is mainly self-taught. Raised in Los Angeles from the age of eight, he played tuba and trumpet in high school, took up bass at eighteen, and made his professional debut
with Skinnay Ennis. He also worked with Pete Jolly, and was with Bobby Troup for a year and a half before joining Shelly in 1960. Shelly considers him one of the best young bassists in jazz today.
The Music
Love For Sale • The 1930 Cole Porter standard (from a show called The New Yorkers) has long been used as a backbone for jazz improvisation. Here Shelly sets the pace with his up-tempo vamp, and Conte offers a free yet faithful delineation of the theme, while Richie adds side comments and takes over for the release. Richie's long solo builds slowly during the first chorus into a continuously swinging groove that is later maintained by Conte and Russ. The solid underlining of Chuck's bass, as well as his walking solo, are conspicuous features of this track.
How Could It Happen To A Dream • This Ellington standard, originally cut by Duke's band in 1946 under the more Brooklynesque title It Shouldn't Happen to a Dream, offers a graceful vehicle for Richie's ballad thoughts. Russ has a gentle but firm solo in which the harmonic idea developed at the beginning of his last eight bars is especially effective. Conte has a spare, discreet, muted solo before Richie takes it out.
Softly, As In A Morning Sunrise • Conte, whose solo is a highlight here, has a particularly effective passage in which he hangs onto a repeated F against the C minor chord at the end of one chorus and during the suspended rhythm passage leading into the next. Shelly's interlude with sticks swings as tastefully as does his ensemble work, and Chuck has a remarkable Pettiford-like solo.
The Champ • Shelly, pursued closely by Chuck, sets the brisk pace for what turns out to be a ten-minute series of blues solos with the 1951 Dizzy Gillespie riff as a framework. A sense of tension and release is ingeniously established throughout as Chuck, at one point during each of the solos by Richie, Conte, and Russ, lays out to let Shelly provide the sole accompaniment.
On Green Dolphin Street • One of the first jazz recordings of this Bronislau Kaper movie melody was in 1957 by Contemporary's Poll Winners — Barney Kessel, Shelly, and Ray Brown (C3535, stereo S7010). The tune has also been closely associated with Miles Davis, and is now a staple in the repertory of many jazz combos. Despite the unusual length of this track, continuity is established and mood maintained by the device of launching each solo (muted trumpet, then tenor, then piano) with a chorus in which the first and third eight-bar strains are played against a pedal-point bass effect. Playing these comfortable changes, Kamuca offers a solo that is rich in dynamic and rhythmic variety. Chuck and Shelly have solo contributions that adhere carefully to the overall mood before the theme returns.
What's New? • First recorded by Bob Crosby in 1938, the music was written by Bob Haggart, then bass player with Crosby. This attractive melody is unique in jazz, in that it consists of the same eight-bar strain repeated four times, the third statement being played a fourth higher. That its harmonic structure carries it is made clear again in this slow-tempo treatment. Note Shelly's subtle variations between straight four and double-time, and the eloquent contribution of Conte, which gives the whole a beautifully dramatic, climactic mood. Aside from the difference in personnel, this is in complete contrast with the up-tempo version of the same tune in Shelly Manne & His Men at The Black Hawk, Vol. 2 (Contemporary M3578, stereo S7578).
If I Were A Bell • The Frank Loesser song from Guys and Dolls (1950) is furnished with an effective head-arrangement device through the varying support of Chuck Berghofer, who accompanies each of the soloists in two, for a single chorus, before bursting into a free-flowing four. Russ Freeman, who lends the appropriate touch of tintinnabulation to the introduction, is also responsible for an exciting, consistently pulsating solo, reminding us yet again that he is one of the most rewarding soloists in modern piano jazz. The series of eights traded by Richie, Shelly, and Conte is another high spot, preceding Conte's muted recap of the melody.
Ev'ry Time We Say Goodbye • The Cole Porter song from a Broadway show called The Seven Lively Arts was introduced to jazz ears by Benny Goodman in 1944. Russ is notably melodic in his solo; the first eight bars sound as if he had composed a new theme based on these changes. Richie's sound and phrasing, and the mood of this melody, are well suited to each other, as the opening and closing choruses indicate.
A Gem From Tiffany • Once again Bill Holman's original provides a closer for a Shelly Manne set. The longest previous workout on this foundation was heard in Volume 4 of The Black Hawk series (Contemporary M3580. stereo S7580). The time-honored "and-then-there-were-none" routine is followed as the men leave the stand one by one until Shelly, solo, makes the final statement.”
—Leonard Feather Notes reproduced from the original album liner.
These liner notes are also used in At the Manne-Hole, Volume 2 (OJCCD-715-2), a second volume of Shelly Manne's Contemporary recordings; the notes make reference to tracks in both discs.
“It's amazing when you think back about how many great musicians were working together then. You need a little mileage to see how good it was."
While reading the above statement by tenor saxophonist, composer, arranger Benny Golson in Bob Blumenthal’s notes to the booklet that accompanies The Complete Argo/Mercury Art Farmer/Benny Golson/Jazztet Sessions [Mosaic MD7-225], it brought to mind the seemingly endless recombinations of musicians into combos that populated the New York Jazz scene in the 1950’s and 60’s.
One of my favorite combos from this era was the Jazztet. The group’s music was particularly appealing to me because it was made in the form of a sextet that added a trombone bass clef to the usual treble clef, front line of trumpet and tenor saxophone and because as Gene Lees noted in his 1960 essay for Downbeat about the Jazztet’s music:" [it offered] a balanced amalgam of formal written structure and free blowing — the long-sought Grail of jazz."
More about the Jazztet’s personnel, how the group came about and its uniqueness is contained in the following excerpts from Bob Blumenthal’s insert notes to the seven-disc Mosaic Records set which Bob has graciously allowed us to feature on these pages.
One of the musicians who seemed to be “everywhere” on the New York Jazz scene in the late 1950s and early 1960s was pianist Cedar Walton who before joining the Jazztet was with trombonist J.J. Johnson sextet. After his stint with the Jazztet, Cedar joined Art Blakey’s Jazz Messengers. Not a bad five years of work. Cedar has always been one of my favorite Jazz pianists and he is featured performing Randy Weston’s Hi-Fly on the Jazztet video that closes this piece.
“The three years of music in this collection represent one peak in two exceptional jazz careers. Art Farmer (August 21, 1928—October 4, 1999) enjoyed, and Benny Golson (horn January 29, 1929) still enjoys, varied and lengthy lives as musicians, with several triumphs as soloists and, in Golson's case, composer/arranger. As a team, they left a recorded trail of their collaborations that spans four decades, yet the pinnacle of that association was clearly the sextet they co-led under the name the Jazztet. While Farmer, Golson and original member Curtis Fuller revived the group 20 years after it had initially disbanded, the six original Jazztet albums included here remain at the core of the Farmer/Golson legacy.
Farmer and Golson hardly set their individual development aside during the time of their partnership. As the six additional sessions here underscore, they were making great strides as soloists — Farmer, in his shift from trumpet to flugelhorn, and Golson through a stretch of stylistic soul-searching that (his compelling performances here notwithstanding) ultimately led him to set aside the saxophone. Yet, as with many successful partnerships, the Jazztet experience allowed them to reach beyond individual glory in search of a collective goal that Gene Lees described in a 1960 Down Beat cover story as "a balanced amalgam of formal written structure and free blowing — the long-sought Grail of jazz." The band's failure to achieve sustained commercial success says much about how the jazz world revised this notion of balance as an ultimate goal during the years in question.
A soft-spoken style combined with equally determined personalities and a wealth of similar experience made Farmer and Golson natural partners. Farmer was born in Council Bluffs, Iowa and raised in Arizona. By the time he was 16, he and his twin brother, bassist Addison Farmer, were living in Los Angeles and part of a youthful coterie (also including Sonny Criss, Teddy Edwards and Hampton Hawes) that eagerly greeted the West Coast arrival of Dizzy Gillespie and Charlie Parker in 1945. Work with the rhythm and blues band of Johnny Otis brought Farmer to New York, where he remained for a couple of years before returning to California for work with such modernists as Dexter Gordon and Wardell Gray. A seat in Lionel Hampton's trumpet section brought Farmer back Fast in 1953. Golson, a Philadelphia native who came of age with fellow saxophonists Jimmy Heath and John Coltrane, attended Howard University for two-and-a-half years, and then traveled with various rock and roll bands before landing a job in Atlantic City with Tadd Dameron during the summer of 1953.
"My relationship with Art goes back to 1953," Golson recalled recently. "What happened was that Clifford Brown, Gigi Gryce, Cecil Payne, Jymie Merritt, Philly Joe Jones and I were all working with Tadd, while Quincy Jones, Monk Montgomery. Alan Dawson and Art were already in Hamp's band. Quincy heard Tadd's group one night then went back and told Hamp about Clifford, Gigi and me. I would have left for that European tour that Clifford and Gigi made, but Tadd's manager made me stay so that I could tutor all of the new guys they had to bring in. I did end up in the Hampton band myself for a hot minute, although I didn't last long because Hamp and I couldn't come to terms financially. It's amazing when you think back about how many great musicians were working together then. You need a little mileage to see how good it was."
For the next few years after their Hampton experience, Farmer and Golson followed distinct yet related paths. Farmer began recording under his own name for Prestige in 1953 (an affiliation that would last three years), then
issued albums on ABC-Paramount and Contemporary; but with the exception of a few months in 1955 during which he co-led a quintet with Gryce in 1955, the trumpeter spent most of this period working as a sideman, primarily with Horace Silver and Gerry Mulligan. In addition, because Farmer was excellent as both a reader and an improviser, he became one of the most active personalities in what were still the thriving New York City recording studios. Golson made his mark as well, primarily through his writing skills. James Moody was the first to record Golson's music in 1955, and Miles Davis helped make STABLEMATES Golson's first jazz standard in that same year; but Golson's big break came when he joined Dizzy Gillespie's reorganized big band in 1956. The stint with Gillespie helped to popularize other Golson classics such as WHISPER NOT and I REMEMBER CLIFFORD, and finally brought about his recording debut as a leader on Contemporary in 1957 — BENNY GOLSON'S NEW YORK SCENE, with Farmer featured on trumpet. A year later, in a brief stint as musical director of Art Blakey's Jazz Messengers, Golson was the primary force behind the popular Blakey recording that included Bobby Timmons' MOANIN' as well as three of Golson's own compositions. When Golson left Blakey after a European tour at the end of 1958, he got together with trombonist Curtis Fuller. "Curtis and I went into the Five Spot for two weeks, and stayed for months after that," Golson explains. It was during this period that the pair recorded four albums together under Golson's name for Riverside and Prestige/ New Jazz and three under Fuller's for Savoy. One of the latter, ARABIA, was issued under the name of the Curtis Fuller Jazztet.
At the same time, Farmer and Golson were solidifying the relationship they had inaugurated in the Hampton band six years earlier. "Art and I were thrown into each other's company in the New York studios, on albums like George Russell's NEW YORK, N.Y., and I just loved how he played," the saxophonist recalls. Oscar Pettiford, Jimmy Cleveland, Abbey Lincoln and Milt Jackson also found occasion to employ the trumpeter and tenorman on the same record dates. By the end of 1958 both Golson and Farmer were recording for the United Artists label. Golson appeared on Farmer's quintet album MODERN ART and contributed two compositions as well as all of the arrangements for the trumpeter's tentet album BRASS SHOUT. "I was interested in forming a sextet at the time," Golson says. "There were so many quintets around, and I wanted to hear one more voice in the band. When I called Art with the idea, he just started laughing, because he was ready to leave Gerry Mulligan and had been about to call me to be the tenor saxophonist in his new sextet."
The pair came up with a straightforward solution lor completing the bund. "We decided to each pick two ol the other sidemen," Golson explains. "Art picked his brother Addison as the bassist and drummer Dave Bailey, who had also been in the Mulligan quartet. I wanted Curtis as the trombonist, and this 19-year-old pianist I had worked a job with in Philadelphia named McCoy Tyner. Art had to be persuaded about McCoy because he had never heard him — not many people had at that point — but it was my choice and he ultimately went along."
Kay Norton, an executive with the United Artists label who would take producer or co-producer credit for the majority of the albums in this collection, became the manager of the new band. An official debut gig was obtained at New York's Five Spot in November 1959, on the bill that introduced the Ornette Coleman quartet to the East Coast. All that was lacking was a name for the new ensemble. "Art and I couldn't come up with anything," Golson laughs, "and we finally asked Curtis Fuller if we could use 'Jazztet,' which he had coined for one of our Savoy sessions. So while the Jazztet was always Art's and my band, it was Curtis' name."”
“Sonny Rollins first recorded for Bob Weinstock's new Prestige label in 1949, when he was not yet 19 years old and at the very beginning of his professional career, although he had already appeared on three recording sessions (one with JJ. Johnson, and two with singer Babs Gonzales). Rollins went on to participate in a total of eighteen sessions for Prestige between 1949 and 1956—formative years in which the saxophonist would make some of his greatest strides as an improviser.”
- Charles Blancq
One of the great things about the boxed set Sonny Rollins- The Complete Prestige Recordings is that a good portion of the sleeve notes are authored by Bob Blumenthal.
So not only does the owner get a ton of brilliant music from tenor saxophonist Sonny Rollins’ earliest recordings, a purchase of the set also brings the observations, comments and insights of a Jazz writer who has been awarded Grammies for the excellence of his insert notes [In 1999 for Coltrane: The Classic Quartet/Complete Impulse! Studio Recordings and 2000 for Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-61].
You can read more about Bob’s background and current activities at www.jazzinamerica.org/.
As was the case with our earlier posting of Doug Ramsey’s brilliant insert notes to The Complete John Coltrane Prestige Recordings, the editorial staff at JazzProfiles is very grateful to Nick Phillips and his team at The Concord Music Group for granting copyright permission to reprint Bob’s writings on these pages. Order information regarding Sonny Rollins- The Complete Prestige Recordings is available at www.concordmusicgroup.com/.
And, of course, our thanks go out to Bob as well for his continuing generosity in allowing us to represent his work once again on the blog.
Sonny Rollins – The Prestige Years by BOB BLUMENTHAL
““Spontaneous". . ."A music of personal expression". . ."Different every performance". . . 'The sound of surprise." It's amazing how frequently I catchphrases of jazz are honored only in the breach, how often even ranking stars of the music settle for reliable choices when navigating through the potential minefield of the improvised solo. But when Sonny Rollins plays, the spontaneity, surprise, and freshly-minted personal expression are always present, which is one reason he has been cited more frequently than any of his peers as the greatest living jazz improviser (and hence jazz musician) in the two decades since he emerged from his last sabbatical.
Rollins has deserved the designation of model jazz artist for about twice that long, as the music in this collection indicates. At the age of 25, while he was still working primarily as a sideman, and had only recently returned from an earlier absence, his achievement was already imposing enough to justify the album title Saxophone Colossus. Few of those who had heard his previous Prestige sessions considered the designation mere record-company hyperbole. Rollins, who began as far more than just a promising talent, had been growing by leaps and bounds into one of those rare artists who define a musical epoch. His aggressive virtuosity, searing energy, caustic humor, and boundless imagination were already well documented, and had contributed to the evolved conception of jazz modernism known as "hard bop." Rollins's music would continue to grow in later years, as would his mystique; but by the time his Prestige contract expired at the end of 1956 he was already an acknowledged giant.
Rollins earned his reputation through the music contained on the present seven compact discs, which can be heard as Acts 1 and 2 in one of the longest (and still-running) sagas in jazz history. As such collections go, it is uncommonly comprehensive. While Rollins had made three prior visits to a recording studio before his New Jazz/Prestige debut with trombonist J.J. Johnson in 1949, and actually cut his most important session as a teenager three months later (with Bud Powell on Blue Note), the early Fifties found the tenor saxophonist establishing an exclusive base on Prestige. Over a period of five years, from his first session with Miles Davis through his first 12-inch LP tour de force Work Time, all of Rollins's commercial recording was done for that label. While 1956 would also find him making important studio appearances elsewhere—with Clifford Brown/Max Roach and the succeeding Roach quintet on EmArcy, with Thelonious Monk on Riverside, and on the first of his own Blue Note albums—he still turned out the bulk of his performances for Prestige founder/producer Bob Weinstock.
Despite the music they were creating, these were not the best of times for Rollins or his contemporaries. America had only begun to confront the racism that permeated its society, jazz was still trying to make a case for itself as an art form, and the scourge of heroin addiction among young jazz players added another and often insurmountable obstacle to personal growth. That Rollins could overcome these circumstances testifies to a strength of character equal to the strength of his sound and conception. Even when witnesses report that he was not in the best of physical shape during one or another of his early sessions, Rollins always provided at least some intimations of brilliance. His rich and bellicose tone, the bold way in which he extended and often anticipated a tune's underlying harmonies, his emphatic swing and frequently abstract counter-rhythms, and the astounding continuity he was able to generate with such diverse techniques made Rollins an influence before he had pulled himself together. This is the erratic but invaluable Rollins heard on the first half of this collection. After he had dealt with his personal problems and emerged as a featured sideman with the Brown/Roach quintet at the end of 1955, he was unstoppable.
Rollins enjoyed the luxury of working almost exclusively with jazz giants during his Prestige years — although few of them were as yet recognized as such. A quick glance at the collective personnel of this package indicates the wealth of talent involved, and also that the evolution of an entire musical style is documented here. With Brown, Davis, Kenny Dorham, or Art Farmer on trumpet; John Lewis, Monk, and Horace Silver among the pianists; a roll of drummers including Art Blakey, Kenny Clarke, Roy Haynes, Philly Joe Jones, Roach, and Art Taylor; and appearances by fellow saxophonists John Coltrane, Jackie McLean, and Charlie Parker, Rollins's Prestige recordings serve as a mini-history of hard bop. This more percussive and blues-centered wing of jazz modernism, which soon came to be known as East Coast style (to differentiate it from the less assertive West Coast variety), made its first appearance on early Miles Davis sessions recorded for Prestige and Blue Note. Certainly Blakey's drumming on the October 1951 Davis date in this collection, and Philly Joe's work on the trumpeter's subsequent January 1953 recordings, are prototypes of hard bop accompaniment, just as the Rollins solos they support helped to define the hard bop approach to the tenor.
These performances document as well the technological and marketing changes in record formats that strongly influenced the music's evolution. The very first sessions were produced for release as 78-rpm singles, yet as early as the late-1951 Davis date the possibility for extended performance offered by the 33-rpm, 10-inch "long-playing" album was being explored. By 1955, the 10-inch discs were already obsolescent, being replaced by 12-inch albums, which contained far more playing time. It was a new era for recorded jazz, and Rollins was one of the era's prophets.
Sonny was well positioned to reach such early eminence, for he grew up in one of the richest environments a young jazz musician could imagine. Theodore Walter Rollins was born in New York City on September 7, 1930; some references have listed the year as 1929 because he had once claimed to be a year older in order to obtain working papers. The Rollins family first lived in an apartment in the heart of Harlem, on 137th Street between Lenox and Seventh Avenues. The Savoy Ballroom was right around the corner, and the Cotton Club was nearby. "I used to walk by both [places] as a kid," he once recalled, "wishing I could go inside. You didn't have to be grown up to go to the Apollo, though, so I went down there at least once a week and caught practically everybody—Lionel Hampton, Fletcher Henderson, Duke Ellington, Count Basie .... We used to see those guys do a stage show, and then there'd be a movie. Boy, those were the days; go get some candy, see maybe a murder mystery. You'd hear the bands warming up in the background, and then you'd actually see them. You caught a great show."
The movies, and the popular music heard on the radio, also made an impression on the young Rollins, and explain his ongoing fondness for both the staples and the obscurities of Tin Pan Alley. "I'm attracted to the older standards because I listened to them growing up. I remember a lot of them, and was influenced by Hollywood songs, songs from pictures. A lot of these songs I can still relate to," he has said. His family also played a role in shaping his tastes. "My playing calypso is mainly due to my mother coming from the Virgin Islands. I went with her to a lot of calypso dances, and heard many of the songs I play at a fairly early age."
By the time Rollins was 10, his interest in music had been focused: "What made me want to be a musician was seeing a saxophone in a case. It was so beautiful and shiny, I fell in love with the instrument." His fondness for Louis Jordan led Rollins to begin on an alto sax. When his family moved further uptown in the early Forties, to Harlem's Sugar Hill section, the youngster's enthusiasm grew into passion. The new neighborhood was full of established musicians, including his early idol Coleman Hawkins, as well as such like-minded youngsters as Jackie McLean, Art Taylor, and Kenny Drew. The teenage friends would often play together in pickup bands. "For some reason, I was always the leader," Rollins recalls, "although Kenny was the most schooled in terms of classical training.
"We were thoroughly dedicated to playing all through school," Rollins continues. "And as we got older, we got to hang out with a lot of the musicians. I got all kinds of things from a lot of people—the meticulous shine on Buddy Tate's shoes when he came out front to solo with Basic was something that registered. We'd also go down to 52nd Street and try to get into the clubs. We'd put eyebrow pencil around our lips and wear big hats pulled over our faces so no one would see how young we were. Charlie Parker was down there, and we pestered Bird a lot, but he was always very nice.
"I first heard Parker when I was 15, on his record 'Ko-Ko.' I was attracted to
him, but wasn't with him completely. At the time there was a rumor that Bird was dead, then Savoy put out 'Now's the Time' and 'Billie's Bounce' and that was all you would hear in Harlem. I began to get the message. At the same time, I was a devotee of Coleman Hawkins—I had an alto, but wanted a tenor so I could be like Coleman. I got my first tenor in 1946, so these influences were intertwined. A few years later, guys in Chicago called me 'the Bird of the tenor.'"
Rollins also acknowledges hearing a lot of other players in this formative period. "There was this older guy in the neighborhood who knew I played sax and asked me, 'Who's the greatest tenor man in the world?' I said Coleman Hawkins, but he said 'No, Lester Young.' So I went out and got my first Lester Young record, 'Afternoon of a Basie-ite,' and started paying attention to Lester. Of course, I also loved Don Byas, Ben Webster, and Georgie Auld.... All of the great tenor players made an impression."
The teenaged Rollins lacked confidence in his playing, and seriously considered pursuing his talents in the visual arts by becoming a cartoonist or painter until he received critical encouragement from several of the period's innovators, including two who would employ the young tenor man on their own Prestige recordings. He met Monk through Lowell Lewis, a trumpet-playing friend and classmate who led a high-school combo with Rollins.
"Lowell and I lived up on the Hill, but went to high school on 116th Street on the East Side. This was the beginning of New York City's efforts to desegregate the schools, so we were sent to BenjaminFranklinHigh School in an Italian neighborhood, and the situation was tense. Frank Sinatra came to sing at the school after one of the incidents. He was a big star, and an Italian-American, and it made an impression to have him come to a school in an Italian neighborhood and tell the students to settle down. Nat Cole's trio came to the school and played as well around this time." A decade later, Rollins would remember Sinatra's visit when selecting "The House I Live In" (which had been closely associated with the singer) for one of his final Prestige sessions.
"After school, Lewis would go down to Monk's apartment for rehearsals, and he'd bring me along. Monk was using another young tenor player in his band at the time, and Lowell was convinced that I was a better horn player. I learned a lot rehearsing with Monk, trying to learn that music." Indeed, the complex rhythms and harmonies, daring use of space, and idiosyncratic humor that became trademarks of the Rollins style can be traced back to Monk, and can already be heard in embryonic form in his first recorded solos, cut with Babs Gonzalez for Capitol in January and April of 1949, when Rollins was 18.
It was at about this time that he was first heard by Davis. "I used to play in the jam sessions at Minton's. There was a promoter who heard me there who ran Sunday afternoon sessions at the 845 Club in the Bronx. He would get people like Miles, Bud Powell, Dexter Gordon, and J.J. to be the featured attractions, then hire younger guys to play intermission. Miles first met me on one of those Sunday sessions, where I was playing with my trio. [Rollins was already working in the tenor-bass-drums format that he would popularize in the late Fifties.] He invited me to work with his band, and those were some of the most memorable playing experiences I had. Miles was an idol of mine, and we seemed to have a lot in common; our styles blended. Encouragement from Miles, Monk, Bud Powell, and Art Blakey finally convinced me not to be so self-deprecating and to try to make it."
The musical odyssey charted in this collection begins with an example of Rollins from this period, his early 1949 session with the sextet known as Jay Jay [sic] Johnson's Boppers. It was the tenorman's fourth visit to a recording studio, and his second with Johnson, who had used him two weeks earlier on a quintet date for Savoy that included Rollins's first two recorded compositions. The Prestige debut contains another early Rollins original, the bop blues "Hilo," and coincidentally includes three-fifths of a future Max Roach quintet, Roach, Sonny, and Kenny Dorham. About the brass giants on hand here, Rollins says: "I knew Kenny from when he moved up on the Hill. We were tight, and used to practice and rehearse together. J.J. had been on my first record date with Babs Gonzalez, but I may have met him earlier at a session."
By 1951 and his first session with Davis, Rollins had begun paying the dues that were all too common during the period. After leaving New York for Chicago to work briefly with the respected but unrecorded drummer Ike Day in late 1949, he was incarcerated for eight months on a drug-related charge in 1950. Rollins was even more intense and rambunctious after his release from prison, and his work with Davis reveals that he was a perfect contrast to the more pensive trumpeter. "Miles always needed a strong, aggressive sax player to play off his style," Rollins notes. Davis was so enthusiastic that he persuaded Weinstock to tape a track featuring Rollins at the end of the session, and, since John Lewis had already left the studio, provided the piano accompaniment. These themeless choruses on the chords of Parker's "Confirmation," ultimately titled "I Know" when released as a 78-rpm single, apparently led the Prestige executive to give the young saxophonist a recording contract.
Another studio appearance with Davis preceded the first official Rollins session in December 1951. While these dates include several intimations that the young tenor player was already something special (how many musicians would have quoted "Well, You Needn't" then, as he does during his chorus on "Out of the Blue"?), Rollins was scuffling at the time, a situation indicated by his reported use of a coat hanger and a length of rope in place of a neck strap on his first session.
"Drugs passed through like a tornado in the early Fifties," he has recalled in frank evaluation. "Guys came back from Korea smoking heroin. It was plentiful, and I was hooked pretty bad, along with everybody else. It was a thing we all went through; some of us came out of it, and some didn't. I did."
The battle was not easily won. He was arrested again in 1952 for parole violation. Out once again and back on the scene in January 1953, Rollins made his third studio appearance with Davis in a sextet that also included Charlie Parker on tenor. This summit meeting proved to be a tension-filled affair that went unreleased until 1956, after Parker's death. Rollins sounds like the most together of the soloists through much of the date, although his actual condition led to a pivotal conversation with Parker.
"I'm sure Bird thought it was because of him that I was using heroin," Rollins recalls, "and he asked me at the session if I was straight, because he knew I was on parole at the time. I had just messed around with another musician before the session, but I lied and told Bird I was straight. At a break, somebody else mentioned that I had gotten high. That's when Bird told me I could be a great musician if I didn't mess around, and that stayed on my mind. He couldn't get off of it, and when he saw all of these young kids hooked, he took it on himself. This motivated me—I wanted to show him that one of his followers got the message. The sad thing was that Bird died while I was in Lexington the second time, so I never got to tell him." His respect for Parker was clear enough at the time, despite suggestions to the contrary after he quoted "Anything You Can Do, I Can Do Better" on both takes of "The Serpent's Tooth." "Miles and I both liked to play that song. The quote really had no particular significance, although I thought later about how it could be taken the wrong way."
Rollins continued to grow as a musical force during 1953 and '54 despite two more years of personal turmoil. His October 1953 recordings with the Modern Jazz Quartet reveal a more mature soloist and composer. A month later, he cut his first session with Monk. More of the rough edges had been planed away on a January 1954 date with Art Farmer, who had approached Rollins about recording after the two had played together at sessions. Among its other features, the Farmer session included the Horace Silver/Percy Heath/Kenny Clarke rhythm section that would go on to make three important sessions for Miles Davis later in 1954. The last of these was the June 29th date on which Rollins came into his own.
Not only was the saxophonist playing on an elevated level on this most famous of his five Prestige sessions with Davis, but the presence of "Airegin," "Oleo," and "Doxy" made Rollins the composer a force to be reckoned with as well. The trumpeter was already an acknowledged star maker at the time, and his inclusion of a sideman's tunes on his recordings was the ultimate seal of approval. "Those tunes had all been written prior to the date," Sonny recalls, "some of them while I was incarcerated. I don't recall playing them on jobs with Miles, though; it was probably a situation where we were in the studio and Miles said 'Got any tunes?'" The arrangements of "Oleo" and "Airegin," which build tension by having pianist Silver lay out for extended stretches, were also highly influential. Rollins, like many later Davis sidemen, cannot recall if this idea was his own or the trumpeter's. "I'll give Miles the benefit of the doubt, since it was his date, but I don't really know who had the idea. When I played with Miles during this period, the piano would often inhibit what we wanted to do, and both of us would ask the pianist to stroll. We had a lot of similar ideas about music."
Musicians and fans were starting to pay attention to Rollins, and Prestige responded in the latter half of 1954 with two 10-inch albums under the saxophonist's name. As commanding as he sounds on Sonny Rollins Quintet (with Dorham and Elmo Hope) and Sonny Rollins (the quartet encounter with Monk), he was still wrestling with his drug habit. By year's end he had checked himself into the federal drug facility in Lexington, Kentucky, motivated by Parker's earlier advice to cure himself once and for all. After four and a half months in Lexington, Rollins returned to Chicago, where he felt that he had experienced important musical growth four years earlier. He took a room at the YMCA, found work as a janitor and as a laborer loading trucks, and used his spare time to practice.
Months passed before he began playing in public. "Then it started," he has recalled, "the real test. Guys coming up to you at sessions and offering you stuff, and your palms sweating; you've seen it in the movies. There I was struggling, working my little day job, and right around the corner from the YMCA where I was living was a record store with my quartet album with Monk in the window! It was tough, but I came through that okay." His practice time was spent "just working on things. I had my loose-leaf notebook—I still have that notebook, in my apartment in New York—and it had various individual things that I wanted to work on. I was always working on something, and I was also learning songs. I remember rehearsing 'There's No Business Like Show Business' in the basement of the T with Booker Little."
Rollins took the majority of 1955 to pull himself together. While in Chicago, he turned down an offer to join the newly formed Miles Davis quintet, which made a place for the then-unknown John Coltrane. In November, he subbed for Harold Land when the Clifford Brown/Max Roach quintet visited Chicago; some of their first performances at the Beehive club were taped and released a quarter-century later. When the quintet left town, Rollins was on board as a full-time member, creating one of the most inspired (and sadly short-lived) front-line pairings in jazz history. Act 1 of the Rollins saga had concluded; and Work Time, recorded in New York shortly after he had joined Brown/Roach, brings up the curtain on Act 2.
In little more than a year, Rollins would record six sessions under his own name for Prestige, as well as a final studio appearance under Davis's leadership. This is a truly prodigious output, particularly for an artist who takes so much time to prepare his contemporary releases. "All recording is a traumatic experience for me," Rollins once told Orrin Keepnews; but it was an experience he was more readily willing to undergo after his return from Lexington and Chicago. The demand for product in the dawn of the era of the 12-inch album may explain in part this burst of activity, although the determination of Prestige to stockpile material before Rollins's contract expired may have also played a role. From Rollins's own perspective, he recalls simply wanting to work and make some money after his period of struggle. Whatever the reason, Rollins approached these albums with a mixture of furious energy and intellectual rigor that announced a new creative plateau. Viewed as a group, they form an intriguing pyramid, with the first and last being the most hard-driving and confrontational, the second and fifth capturing Rollins at the head of bands where he appeared nightly as a sideman, and the middle masterpieces Tenor Madness and Saxophone Colossus revealing more subtlety and an even greater range of expression.
Work Time, from December '55, and Tour de Force, made almost exactly one year later, are the most heated of the efforts. The former has often been identified as one of Rollins's greatest achievements, while the latter features starkly contrasting moods, given the two ballads with Earl Coleman. ("Earl's recordings with Parker put him in an exalted place, in my view. Since Bird did a record with Earl, I wanted to do one too.") What earned the latter album its title, though, were the themeless dashes through the chord changes of "Lover" ("B. Swift") and "Cherokee" ("B. Quick"), as well as the voracious invention of the blues "Ee-ah." "Max and I did want to see how fast we could play," Rollins admits about this last session. "I was young and strong, and able to at least try anything."
Sonny Rollins Plus 4 and Rollins Plays for Bird found the saxophonist fronting the Brown/Roach and Roach quintets, respectively. In each instance, Rollins chose material that was not a part of the regular group repertoire. "I wrote 'Valse Hot' on the road, right after I joined the band, but never performed it in person until after the album came out. The rest of the material was just current pop tunes that I liked or, in the case of the Bird medley, songs that Max and I associated with Parker. I was interested in writing a waltz; the precedent was Fats Waller's 'Jitterbug Waltz,' that was in my mind, and I used the chords from 'Over the Rainbow.' Tent-Up House' was not based on another tune. The title comes from my situation when I wrote it. I was staying in someone's house at the time, and felt pent up because I couldn't practice."
The session with Clifford Brown is one of only two studio encounters between the trumpet giant and Rollins, who had taken part in a Brown/Roach session for EmArcy earlier in the year. It is one of the few albums of his own that the perpetually self-critical Rollins admits to liking. "I like the different moods I got with Clifford on that session. We really sound compatible." He will also express fondness for "The House I Live In" from the Plays for Bird session, although Prestige did not release the track with the other material recorded at the date. "I was never consulted about what would and would not get released," Rollins explains. This track, as well as "Sonny Boy" from the final session, only surfaced in the early Sixties after Rollins mentioned them in a conversation with critic Joe Goldberg, whose subsequent reminder to Weinstock led to their rediscovery.
The Tenor Madness album features Rollins with the Davis band of the time minus its leader, an inspired pairing of undetermined origin. "I'm not sure whose idea it was, to be honest, mine or the record company's. At that time, everybody was hanging out together, and you'd see each other all the time. Groups would be put together for albums without a lot of premeditation. It was a much smaller, tighter world." Whatever the source, the empathy of Red Garland, Paul Chambers, and Philly Joe Jones inspired Rollins to some of his most relaxed and lyrical- work, before John Coltrane was added for an extended performance on a line that Kenny Clarke had recorded ten years earlier under the name "Royal Roost." "I have to plead innocent for taking a composer's credit on 'Tenor Madness,'" Rollins emphasizes. "A lot of record companies wanted to claim publishing rights at the time, and would put your name on a piece and publish it through their company. . . .The same thing happened with 'St. Thomas,' which of course is a traditional song that I heard my mother singing."
"Tenor Madness" presents the only recorded opportunity to hear Rollins and his good friend John Coltrane together, and it points up one significant difference in their outlook: Coltrane was relentlessly serious, to the point of humorlessness, while Rollins had a profound wit that ranged from whimsical innuendo to broad musical pratfalls. One particular exchange epitomizes the distinction so clearly that I have frequently played it for friends who want to hear the difference between the two giants. It takes place during the last four bars of the third chorus of "fours," and the first four bars of the next chorus. Coltrane grows increasingly heated in his turn, laboring over a pet ascending figure; then Rollins responds by juggling the lick and ultimately playing it backwards. "Humor in music is a very subjective thing," Rollins has said. "I feel whether a person has humor should be a natural thing. Because of the humor in my music, people have accused me of not really playing, of just playing around. In fact John told me that about 'Tenor Madness'; he said, 'Aw, man, you were just playing with me.'"
The consensus masterpiece of the Prestige years is Saxophone Colossus, recorded a month after Tenor Madness. Rollins describes it as "very clean for me—I'm a rough player usually," and has admitted that "it caught everybody on a good day." It has the first great Rollins calypso, "St. Thomas"; and another unique original composition, "Strode Rode." ("I might have written that one in Chicago. It was named for a legendary place there called the Strode Hotel, which is where Freddie Webster [an influential but little-recorded trumpet star of the Forties] died. I never even saw the Strode Hotel when I was in Chicago, but I wanted to dedicate something to Freddie Webster.") And it includes the most celebrated performance of Rollins's career, "Blue 7." Several essays have been written about this performance, most notably by Gunther Schuller in The Jazz Review. "I didn't really understand what I was doing until I read Gunther Schuller," Rollins would remark later.
"It's really funny. I didn't know what I was doing. This thing about the thematic approach, I guess it's true, but I had never thought about it; I was just playing it. But I guess it could be analyzed and you could find some sort of theme developing all the way through, which is nice."
Rollins would continue on his way, leaving the analysis to others while he blazed new paths. The Tour de Force session was his last for Prestige. Another two-year cycle of intense recording followed, with the saxophonist preferring to spread his masterpieces among the Blue Note, Contemporary, and Riverside labels rather than signing another exclusive contract. Keepnews, his Riverside producer (and the producer of this collection), sees this as a first attempt to take control of his own career, rather than be at the mercy of contractual demands. Rollins would push the boundaries of what had quickly become hard bop convention further in this period with his use of various piano less rhythm sections, and with his first totally unaccompanied performances. Then, in 1959, he abruptly retired, and was out of sight until a critic came upon him practicing on the WilliamsburgBridge two years later. Upon his return in 1962, he was criticized from one direction for not radically altering his style, then put down from the opposite quarter when he reorganized his band to include former Ornette Coleman sidemen. After a few years he dropped out again, this time to find spiritual fulfillment in Japan and India.
Rollins has been a more constant presence since his return to active playing in 1972, and his performances of the past 20 years have received numerous accolades. His recent working bands cannot compare, however, with the units regularly assembled in the studios for Prestige; and too many of the standards and originals that served him so well on his early recordings now go unplayed. "Actually," he reports, "I still play most of the tunes from Saxophone Colossus, including 'Moritat,' when I'm in Japan, because that was the best-selling jazz saxophone album of all time in Japan, and the fans still want to hear it. And I do hope to play with some of my old friends again. Tommy Flanagan was on a recent album, Falling in Love with Jazz [Milestone 9179]- I'd like to play with Max again, too. We were going to do something, but had problems with the proposed venue. But I would like to play with Max and some of the others, while we're all still around."
One can only hope that such encounters come to pass, and lament that similar reunions did not occur while Blakey, Davis, Monk, and the other departed giants who assisted in the coming of age of Sonny Rollins were still among us. They are all present here on this audio Bildungsroman [generally, something such as a novel dealing with one person's formative years or spiritual education], this document of one musical pilgrim's progress from promise to lasting mastery.”
As you would imagine, it was almost impossible to select an audio track from the bounty of riches that is the boxed collection Sonny Rollins-The Prestige Years, but in the end we had to go with Sonny's Pent-Up House because it features Brownie on trumpet along with Richie Powell on piano, George Morrow on bass and Max Roach on drums.
