Īt the end of the year Rollins appeared as a sideman on Thelonious Monk's album Brilliant Corners and also recorded his own first album for Blue Note Records, entitled Sonny Rollins, Volume One, with Donald Byrd on trumpet, Wynton Kelly on piano, Gene Ramey on bass, and Roach on drums. The title track is the only recording of Rollins with John Coltrane, who was also a member of Davis's group. In 1956 he also recorded Tenor Madness, using Davis's group – pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. In 1957 he married the actress and model Dawn Finney. Thomas", Rollins's use of calypso rhythms has been one of his signature contributions to jazz he often performs traditional Caribbean tunes such as "Hold 'Em Joe" and "Don't Stop the Carnival," and he has written many original calypso-influenced compositions, such as "Duke of Iron," "The Everywhere Calypso," and "Global Warming." He will sometimes improvise on a rhythmic pattern instead of on the melody or changes." Ever since recording "St. Baker explains that Rollins "very often uses rhythm for its own sake.
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(Listen to the music sample.) In his book The Jazz Style of Sonny Rollins, David N. This is interrupted by a sudden flourish, utilizing a much wider range before returning to the former pattern. Thomas", Rollins uses repetition of a rhythmic pattern, and variations of that pattern, covering only a few tones in a tight range, and employing staccato and semi-detached notes. Problems playing this file? See media help. Thomas starting immediately after the melody A long blues solo on Saxophone Colossus, "Blue 7", was analyzed in depth by the composer and critic Gunther Schuller in a 1958 article.
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Thomas", a Caribbean calypso based on "Hold him Joe" a tune sung to him by his mother in his childhood, as well as the fast bebop number "Strode Rode", and "Moritat" (the Kurt Weill composition also known as " Mack the Knife"). This was Rollins's sixth recording as a leader and it included his best-known composition " St. His widely acclaimed album Saxophone Colossus was recorded on June 22, 1956, at Rudy Van Gelder's studio in New Jersey, with Tommy Flanagan on piano, former Jazz Messengers bassist Doug Watkins, and his favorite drummer, Roach. After the deaths of Brown and the band's pianist, Richie Powell, in a June 1956 automobile accident, Rollins continued playing with Roach and began releasing albums under his own name on Prestige Records, Blue Note, Riverside, and the Los Angeles label Contemporary.
THELONIOUS MONK SONNY ROLLINS PLUS
Later that year, he joined the Clifford Brown– Max Roach quintet studio albums documenting his time in the band are Clifford Brown and Max Roach at Basin Street and Sonny Rollins Plus 4. Rollins briefly joined the Miles Davis Quintet in the summer of 1955. Rollins initially feared sobriety would impair his musicianship, but then went on to greater success. While there, he volunteered for then-experimental methadone therapy and was able to break his heroin habit, after which he lived for a time in Chicago, briefly rooming with the trumpeter Booker Little. In 1955, Rollins entered the Federal Medical Center, Lexington, at the time the only assistance in the U.S. 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, these recordings appearing on the album Bags' Groove. Between 19, he recorded with Miles Davis, the Modern Jazz Quartet, Charlie Parker, and Thelonious Monk.
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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. 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, alongside trumpeter Fats Navarro and drummer Roy Haynes, on a seminal " hard bop" session. Later life and career 1949–1956 Īfter graduating from high school in 1948, Rollins began performing professionally he made his first recordings in early 1949 as a sideman with the bebop singer Babs Gonzales (trombonist J. During his high school years, he played in a band with other future jazz legends Jackie McLean, Kenny Drew, and Art Taylor. Rollins started as a pianist, changed to alto saxophone, and finally switched to tenor in 1946. Stitt Junior High School and graduated from Benjamin Franklin High School in East Harlem. The youngest of three siblings, he grew up in central Harlem and on Sugar Hill, receiving his first alto saxophone at the age of seven or eight. Rollins was born in New York City to parents from the United States Virgin Islands. 2.4 Winter 1961–1969: Musical explorations.