Sonny Rollins - St. Thomas (1956)

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Walter Theodore "Sonny" Rollins (born September 7, 1930) is an American jazz tenor saxophonist, widely recognized as one of the most important and influential jazz musicians. In a seven-decade career, he has recorded at least sixty albums as leader and a number of his compositions, including "St. Thomas", "Oleo", "Doxy", "Pent-Up House", and "Airegin", have become jazz standards.
After graduating from high school in 1947, Rollins began performing professionally; he made his first recordings in early 1949 as a sideman with the bebop singer Babs Gonzales (J. J. Johnson was the arranger of the group). Within the next few months, he began to make a name for himself, recording with Johnson and appearing under the leadership of pianist Bud Powell, with trumpeter Fats Navarro, on a seminal "hard bop" session.
In early 1950, Rollins was arrested for armed robbery and spent ten months in Rikers Island jail before being released on parole; in 1952, he was re-arrested for violating the terms of his parole by using heroin. Between 1951 and 1953, he recorded with Miles Davis, the Modern Jazz Quartet, Charlie Parker, and Thelonious Monk. A breakthrough arrived in 1954 when he recorded his famous compositions "Oleo", "Airegin", and "Doxy" with a quintet led by Davis that also featured pianist Horace Silver.
In 1957, Rollins pioneered the use of bass and drums, without piano, as accompaniment for his saxophone solos, a texture that came to be known as "strolling." Two early tenor/bass/drums trio recordings are Way Out West and A Night at the Village Vanguard. Way Out West was so named because it was recorded for California-based Contemporary Records (with Los Angeles drummer Shelly Manne), and because it included country and western songs such as "Wagon Wheels" and "I'm an Old Cowhand". The Village Vanguard album consists of two sets, a matinee with bassist Donald Bailey and drummer Pete LaRoca and an evening set with bassist Wilbur Ware and drummer Elvin Jones. Rollins used the trio format intermittently throughout his career, sometimes taking the unusual step of using his sax as a rhythm section instrument during bass and drum solos. Lew Tabackin cited Rollins's pianoless trio as an inspiration to lead his own. Joe Henderson, David S. Ware, Joe Lovano, Branford Marsalis, and Joshua Redman have also led pianoless sax trios.
By 1959, Rollins had become frustrated with what he perceived as his own musical limitations and took the first - and most famous - of his musical sabbaticals. While living on the Lower East Side of Manhattan, he ventured to the pedestrian walkway of the Williamsburg Bridge to practice, in order to avoid disturbing a neighboring expectant mother. In the summer of 1961, the journalist Ralph Berton happened to pass by the saxophonist on the bridge one day and published an article in Metronome magazine about the occurrence. During this period, Rollins became a dedicated practitioner of yoga.
In November 1961, Rollins returned to the jazz scene with a residency at the Jazz Gallery in Greenwich Village; in March, 1962, he appeared on Ralph Gleason's television series Jazz Casual. During the 1960s, he lived in Brooklyn, New York.
He named his 1962 "comeback" album The Bridge at the start of a contract with RCA Records. Produced by George Avakian, the disc was recorded with a quartet featuring guitarist Jim Hall, Ben Riley on drums, and bassist Bob Cranshaw. This became one of Rollins's best-selling records; in 2015 it was inducted into the Grammy Hall of Fame.
Rollins's contract with RCA lasted through 1964 and saw him remain one of the most adventurous musicians around. Each album he recorded differed radically from the previous one. The 1962 disc What's New? explored Latin rhythms. On the album Our Man in Jazz, recorded live at The Village Gate, he explored avant-garde playing with a quartet that featured Cranshaw on bass, Billy Higgins on drums and Don Cherry on cornet. He also played with a tenor saxophone hero, Coleman Hawkins, on Sonny Meets Hawk!, and he re-examined jazz standards and Great American Songbook melodies on Now's the Time and The Standard Sonny Rollins (which featured pianist Herbie Hancock).
FROM WIKIPEDIA: en.wikipedia.o...

[@Guitareal]

Oh man...only 25 comments in this video! This world it's lost!

[@diannemhando5908]

Masterpiece

[@lucapucci9137]

Personnel Sonny Rollins - tenor saxophone Tommy Flanagan - piano Doug Watkins - bass Max Roach - drums Hard Bop

[@patrickthuita6665]

A masterpiece from the greatest jazz maestro of all times.

[@craigjohnson6218]

I love this it makes you feel so alive

[@johnkramer2866]

An amzing guy on the sax! Admiration and respect.

[@lilianebonnaud947]

Rollins, c'est un monstre. ...

[@qntnfeynman360]

Est ce que c'est de l'impro?

[@markosbargilly7927]

oui

[@alanreyes8656]

¡Maravilloso! 👏

[@鉄道銀河-z1f]

マックスローチいいですね🎵

[@Sunnybloomluvs]

Roach 😂

[@olaeckerman3956]

Bästa sättet att spela denna låt så här

[@fyahvibration0109]

Love Sonny Rollins 🇺🇲✊🏾❤️❤️😍😍🎷🎷🎷

[@НиколайСизов-ь3ш]

Самое Начало нашего изучения Джаза в Ярославле 70-х. Спасибо Бате"

[@moloyz]

অনবদ্য

[@mandanokwe7907]

a mi abuela le encanta la canción y la estoy escuchando a eso con mi abuela

[@martinguano3346]

Marchosa tu abuela

[@robertoleveneur1520]

joli!!!!

[@keijimimura9390]

落ちぶれたら励まされる

[@豊岡花子]

St. Thomas had a jacket like this. I didn't know that. It became study.

[@satosheeee6557]

It shows Rollins' dark gray silhouette against the blue background.

[@F2102-g4j]

Wonderful.

[@JodieJeffSam]

Learned this song right after going on a cruise to St. Thomas...Good times!

[@mustafa1name]

Max Roach electricity surging and sparking through the percussion

[@danielpellegrini6130]

A very modest rendition of this tune @zDEw

[@chroniquephilousophique9983]

Tell me someone else hear the theme of doctor mario in this song. Surely the composer of the game wants to do a wink to Rollins

[@venator76]

Thank you!!!

[@KiiroKarol]

Listen in Gta 4 on My Encarta 2006,7,9

[@giammysax6087]

UN BRANO JAZZ DALAL BELLEZZA UNICA W SONNY

[@arthurphelipe1072]

GTA 4, Jazz Nation Radio

[@Vague05]

Anyone here from GCSE Music?

[@makkusu-_-]

Maldita sea…ROMAN DEJA DE LLAMARME!!!

[@KiiroKarol]

Xddd ya me acorde

[@onebasmusic9951]

@@Listen to more music of Sonny Rollins>>> www.onebas.com/artist/671/Sonny+Rollins

[@jiyujizai]

💛🏵️🌳😀

[@Vulnerable191]

9月7日　ハッピーバースデー

[@SoFarSoGoodSoWhat14]

Don't lie you're here because of GTA IV

[@heavenlanes5598]

I do. I like this song ever since I found it on the game's soundtrack years ago.

[@associacaocomunitariacultu8768]

ya

[@恋の予感-v3r]

I know this tune thanks to Encarta. Hahahahaha

[@eeesti216]

I knew I remembered this from somewhere!

[@anne-isabelletropeano1983]

jjjj

[@rinahall]

I just listened to a 10h European podcast radio show on Sonny Rollins (yes, 10x 1h, covering 1951-2001 !!!). My opinion of Rollins is that it seems very overrated to me. First of all as a player, he does not seem to me better than Johnny Griffin, Stitt, Roland Kirk, Phil Woods, Lateef ... but enjoys a much more important reputation ... and unjustified in my opinion. Ok he plays well, but not better than the musicians I mentioned. In terms of composition, he did not compose anything, everyone knows that St Thomas is a Caribbean folklore already recorded by Randy Weston in 1955 under the title Fire Down There. His other compositions from the 50s ... well, Oleo, Airegin etc ... this can in no way be compared to the compositions of Trane, Bird, Monk or Shorter ... also, his playing and his sound are terribly degraded after 1966 (36 years). It seems that he was traumatized by the arrival of Ornette, Trane, Ayler ... In the 60's he tried to be more free than Ayler, more calypso / blues than Ornette, and more mystical than Trane, but he didn't. did not succeed. Then in the 70s / 80s he tried to be funky, disco ... with really ridiculous and cheesy results ... Did he want to be funkier than James Brown himself? Also, in the radio show they say that he was paid current $ 300,000 for himself to record the Nucleus album (so listen to the result !!!!), and that, for his concerts, his financial claims were unrealistic, only the big festivals could afford it. He played with the Stones but didn't want to go on tour with them because, according to Jagger himself, he wanted too much money! I mean, I'm not making anything up here. In my opinion, he should have remained what he was before, a disciple of Bird at the Tenor, and quit at the age of 40 to leave a quality job, and without trying to follow fashion. Thank you for not insulting me because I have documented myself on Rollins and I like to have constructive discussions without being attacked on my person.

[@n-fk]

Apparemment : pas insulté.... même pas un pouce....ça ne vaut pas la peine de se fatiguer...👍😎 Amicalement 😉