 |  | Rollins' first ever date at the Village Vanguard |  |
There have been many famous recordings done at this famous club in NYC, but this is the most memorable alongside the Bill Evans Trio in '61. But this was the first and perhaps the best of Sonny Rollins' live trio recordings. One could say "Way Out West" as another fine example of Sonny's freer approach to improvisation but there's no contest when he is caught live without the inhibiting environment of a studio. I've worn out both Volumes One & Two so this 2 CD set is a "blessing in disguise" (to use one of Sonny's future titles). Elvin has never sounded more rawer and spontaneous and Ware is just about the most perfect bassist Sonny has ever had not discounting Bob Cranshaw or Ray Brown. If you want an introduction to his music, you can start here!! Either "Sonnymoon for Two" or "Ole Devil Moon" can set you off.
December 9, 2008If someone were to ask me, "what is jazz?" I might postulate, "A NIGHT AT THE VILLAGE VANGUARD by Sonny Rollins." Leave it to BLUE NOTE. On November 3, 1957 Jazz History was being made at The Village Vanguard by Sonny Rollins, Elvin Jones, and Wilbur Ware. (Pete La Roca, and Donald Bailey replace EJ and WW on one take.) This monaural LIVE set could quite possibly be the most impressive feat of Live Jazz Improvisation on The Planet Oyth. This was one of Rollins' first public appearances as the leader of a combo and the very first recording of jazz inside The Vanguard.
These sides are going to puzzle some of the novices or non-musicians of jazz appreciation. You need to get past the mono sound recording. (What, none of you listen to Charlie Parker?) This is not background jazz to be played at your next trendy cocktail party. (Buy some Cal Tjader or Martin Denny CDs for that.) But, you Squares might want to invite over some real beatnik jazz freaks, open some wine, and blow a little boo. (Speaking of beatniks, Kerouac worked and recited at The Vanguard.) This music requires active participation on the part of the listener. If you are attentive, you're in for a real treat.
To quote Rollins in a recent interview: "Jazz is a surprise, informed by your fundamentals in music. I'm a subconscious player."
No truer words were ever spoken. It's as significant a declaration today, as it might have been back in 1957. Here, Sonny Rollins & Co. are laying down an improvisational dispensary of free flowing Hard Bop and avant-garde Swing that had no equal at the time of its inception and has since become one of the most talked about sessions in the history of this music. Melodies, motifs, and phrases are flying so fast, you'll wonder if Rollins is thinking ten moves ahead like a Master Chess player. How can his fingers and breath possibly keep up with what's happening in his magnificent noodle? Two words: Great instinct. Rollins is a powerfully adept improvisationalist and hard swinging musician with an endless wellspring of beautiful color in his fine *ss repertoire. Yeah Daddy-o, herein Sonny Rollins does some miraculous soloing. Mais oui, hipsters. Oodles of noodles. Scads of solitaires. And ain't that what we're her for, Gypsum?
I'm almost certain Max Gordon had to renovate The Vanguard after this Show. These cats positively burned the joint down to the ground. I'd give my left nut to have been there.
My favorite Disc is TWO. My favorite cut is SONNYMOON FOR TWO. But, the entire set is pure Tenor Magic. If you're serious about jazz, you seriously need this session in your collection!
Enjoy.
November 13, 2008 | | I must be missing something | |
I have always loved early Sonny Rollins, until I purchased this CD. Just too much soloing, and not nearly enough of the band.
August 1, 2008| | | Sonny Rollins and his Uncut, Live Freedom | |
Just as there is a top shelf reserved for the greatest jazz studio-recorded albums, there is also a special place reserved for the greatest live performances captured on tape. Jazz itself is a form that is often at it's fullest expression when experienced with the spontaneity and creative fuel that only a live show offers. Just think for a moment of some of the legendary live performances that have added to the cannon of jazz recordings: Yusef Lateef's "Live at Pep's", Ahmad Jamal's "Complete Live at the Pershing Lounge 1958", Art Blakey's "At the Cafe Bohemia, Vol. 1", Bill Evans's "The Complete Village Vanguard Recordings, 1961", Duke Ellington's "Ellington At Newport 1956", Charlie Parker and company's "Jazz at Massey Hall" , Charles Mingus' "Mingus at Antibes", John Coltrane's "Live at Birdland", Miles Davis' "In Person Friday and Saturday Nights at the Blackhawk, Complete", Eric Dolphy's string of albums at the five spot, , Roland Kirk's "Bright Moments", Shelly Manne's "At the Blackhawk, Vol. 1", Art Pepper's "The Complete Village Vanguard Sessions", and the list goes on and on. Well with Sonny Rollin's "A Night at the Village Vanguard" we get an album that not only belongs on that list, but that should be right at, or near the top of it. Firstly this is due to the importance of the album, which rests with the fact that it was the first album to be recorded live at the Village Vanguard, a feat copied many times over to great effect by the best in the business. According to some musicians the Vanguard had within it's confines the means for the "perfect" sound, and this statement has been shown to be true after even a cursory survey of the mountain of albums recorded there. The other reason that this album is so important is that of all the major jazz figures none was more freed by a live setting than Sonny Rollins. Many critics of note have commented on the differences between Rollins's studio efforts and his live performance. It seems Rollin's had a way (and perhaps still does) of mesmerizing a room, of building on his musical logic, of adding to his searing solo's, of letting his humor shine through, and of reaching a creative climax that was more conducive to the live stage. Secondly the greatness of this album, historical context aside, is that the frozen moments it captures contain some jaw-droppingly great music. Rollins took the trio format he made famous on "Way Out West" and let loose with the accompaniment of the red hot Elvin Jones, and the great Wilber Ware, both of whom really get a workout here (it should be noted that on a couple tracks we get the wonderful Pete la Roca on drums and Donald Baily on bass). Just as a live performance freed Rollins, the trio format gave him a freedom that had very little structure. As a result Rollins is literally front and center and the fierce energy he expends could power a small country. Elvin Jones (who at the time in 1957 had yet to join Coltrane) and Wilber Ware have the task of not only keeping up with Rollins but of filling in some of that wide open, even dangerous, space, and it is they who keep this fragile sonic structure from falling into complete chaos. But this is all Rollins, all the time, with no where to hide and no desire to; in this regard it is also a nice contrast to his other blue note albums where as on "Sonny Rollins, Vol. 1" and"Sonny Rollins, Vol. 2" he was somewhat obscured, or at least his solo time was shortened, due to all the other talent on those dates. The strongest impression one takes from this album is, besides that heart-thumping feeling of uncut energy, admiration for the way Rollins and company handle the space they have to deal with. They are most certainly on the edge at all times, and that feeling of being on step from falling off into the darkness is exhilarating, both to the listener and to the musicians. Simply put this is one of the great live albums of all time, for it's importance, but most importantly for it's searing music.
September 1, 2007I have to agree with Minh's review here. I've bought quite a few recordings on which Rollins played, one of which I would consider to be one of highest fidelity jazz albums I own (The Bridge), some which sound very good (with Miles on Bag's Grove in 1954 and with Monk in 1953 and 1954) and some (with Bud Powell in 1949) which don't. Rollin's tone is one of the most beautiful of any tenor I've heard--as distinctive as his phrasing--and it's a shame it's not captured here. I'd rate the sound quality as inferior to the 1949 recodings with Bud Powell; in fact, I'd place the sound quality somewhere between 1937 and 1945. I would think that recordings made in 1957 and released as part of the RVG series in 1999 would sound better, even club recordings. However, they are what they are, and as original historical documents they're not likely to be improved much until we're able to virtually recreate recordings based on the 'bones' of the originals (like building a fleshed out T-Rex based on fossils, which I'm sure some will object to). But for now enjoy this great slice of history. Just be forewarned.
August 22, 2007More reviews at Amazon.com ...
(19 reviews)