So struck by Salvador, the opening track on Sonny Rollins’ This Is What I Do album. Read a all.about.jazz review of the album here.

This is what Jazz critic Whitney Balliett had to say about Sonny Rollins:
Rollins…has been praised estatically for much of his forty-year career. He has been called the greatest living tenor saxophonist, the greatest living improviser, and the greatest of all tenor saxophonists. Almost everything about him attracts attention. A tall, V-shaped, eagle-faced man, he has appeared over the years with a shaved head, a Mohawk, an Afro, and Vandkykes of various heft. He wears brilliant-colored caftans, or crisp white double-breasted suits, and an occasional large hat…He is prone to heavy moods of self-examiniation…If he is really upset, he takes a sabbatical…During a later sabbatical, in the early seventies, Rollins went to India and played by himself in a cave....Rollins’ style reflects a complex, indefatigable attitude toward life, one which he once summed up for the critic Gary Giddins: “Don’t ever shrink from the belief that you have to prove yourself every minute, because you do.” His playing coalesced in the early fifties, and by 1956, when he recorded his serene, classic blues “Blue 7”, with Tommy Flanagan, Doug Watkins on basss and Max Roach, it had become magisterial. It was an ingenious mingling of the styles of Coleman Hawkins and Charlie Parker, overlaid with hints of Dexter Gordon and Don Byas. His tone was big and hard and aggressive, and he used no vibrato. His attack was clipped, even abrupt – more percussive than melodic. He placed his notes just so, between beats, or ahead of the beat. His phrasing suggested a boy crossing a stream on jumping stones.
See here also for Stanley Crouch’s profile of Sonny Rollins in the New Yorker.


Sonny Rollins ROCKS! Woo Hoo!



