Sonny Rollins : The Sound of Sonny

Sonny Rollins : The Sound of Sonny

65.00

Sonny Rollins (tenor sax), Sonny Clark (piano), Percy Heath, Paul Chambers (bass), Roy Haynes (drums)

Contemporary 241

Analogue Productions Records : 2 LPs 180 gram (45rpm)

Limited edition : 2,500 printings

Brand New and Sealed Record

Discontinued : last copy available!...

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A1 - The Last Time I Saw Paris
A2 - Just In Time
A3 - Toot, Toot, Tootsie
B1 - What Is There To Stay
B2 - Dearly Beloved
C1 - Every Time We Say Goodbye
C2 - Cutie
D1 - It Could Happen To You
D2 - Mangoes

Recorded on June 11, 12 & 19, 1957 in New York City.

A new phase in Sonny Rollins' career began in 1957. He started what was at the time an almost blasphemous trend of recording for a number of different labels. His pioneering spirit yielded a few genre-defining albums, including this disc. His performances were also at a peak during 1957 as Down Beat magazine proclaimed him the Critics' Poll winner under the category of "New Star" of the tenor saxophone. This newfound freedom can be heard throughout the innovations on The Sound of Sonny. Not only are Rollins' fluid solos reaching newly obtained zeniths of melodic brilliance, but he has also begun experimenting with alterations in the personnel from tune to tune. Most evident on this platter is "The Last Time I Saw Paris" -- which is piano-less -- and most stunning of all is Rollins' unaccompanied tenor solo performance on "It Could Happen to You." Indeed, this rendering of the Jimmy Van Heusen standard is the highlight of the disc. That isn't to say that the interaction between Sonny Clark (piano), Roy Haynes (drums), and bassists Percy Heath and Paul Chambers -- who is featured on "The Last Time I Saw Paris" and "What Is There to Say" - is not top-shelf. Arguably, it is Rollins and Heath - the latter, incidentally, makes his East Coast debut on this album - who set the ambience for The Sound of Sonny. There is an instinctually pervasive nature as they weave into and back out of each others' melody lines, only to emerge with a solo that liberates the structure of the mostly pop standards. This is a key component in understanding the multiplicities beginning to surface in Rollins' highly underappreciated smooth bop style.

The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

This Analogue Productions LP was remastered by Steve Hoffman and Kevin Gray at AcousTech, using pure analogue components only, from the original analogue studio tapes through to the cutting head and was pressed on virgin vinyl at RTI.

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