SwingJournal #6

Even though we know that Sonny Rollins was one of the tenor saxophone kings in his era, he has disappeared from the scene several times. After he recorded his last album, "Moving Out", he was went to Chicago for rehab. On November, 1955 when the Brown-Roach quintet had an engagement in Chicago, the saxophonist Harold Land who was a member of Brown-Roach Quintet had to leave to his hometown because of his father's illness. Sonny Rollins was the sub who covered Harold Land's spot and the performance became his come back session. "Work Time" was recorded just one month after his come back session in Chicago, and he had two other members from Brown-Roach quintet on the date.

Many people will agree that Sonny Rollins and John Coltrane were the biggest kings of tenor saxophone. As I mentioned in many journal postings, there were many saxophonists who followed in the footsteps of those two artists. Rollins and Coltrane often played together and influenced each other. Coltrane might be the best musician at improvising with endless lyrical eighth notes. On the other hand, Rollins might be more a spontaneous improviser and it's very hard to predict what he will do next.

Initially, Miles Davis really wanted Rollins for his steady quintet, but he finally found Coltrane for the replacement. They started recording in 1955 as well. Therefore "Work Time" was recorded in a very historical moment for not only Rollins but also all historical tenor saxophonists.

There's No Business Like Show Business: Irving Berlin composed this piece for the Broadway musical "Annie, Get Your Gun". The musical was based on fictionalized story of Annie Oakley. Annie was a marksman in Ohio. On 1950 this musical was also remade for the film staring Betty Hutton. Therefore Rollins chose this piece from the list of the hit charts on those days.

Many musicians and recording engineers have to spend hours and hours setting up microphones and checking the level of each instrument before the recordings can begin. As soon as you play this CD, you will love the familiar environment of the Rudy Van Gelder studio. Right before the first track starts, a man's voice says, "OK, Fellows". This voice must be Sonny Rollins', and it is a clear direction to musicians and engineers. As if it is still on the microphone test, drummer Max Roach starts playing the 8 bars solo intro. Sonny Rollins picks up a few notes and everybody starts this Irvin Berlin's composition with a swinging up-tempo.

Right after the opening melody, Ray Bryant and Max Roach lay out. George Morrow and Sonny Rollins become a duo and keep the energy high. Toward the end of the solo, Bryant and Roach gradually return to the ensemble. A whirlwind soldier-like piano solo can be heard. Max's solo is also quite splendid however there is no room for listeners to catch their breath.

The rhythm section players on this recording are Ray Bryant on piano, George Morrow on bass, and Max Roach on drums. Similar to the Brown-Roach Quintet, I feel Max Roach creates a strong leadership not only on this trio but also on whole recording. Max was a co-leader of Brown-Roach Quintet, but this is Sonny Rollins' recording. It is interesting to hear Max's leadership on somebody else's recordings.

Paradox: This is Sonny Rollin's original composition with a Latin flavor. The melody is so catchy that you'll find yourself singing along after you listened to the first chorus. There is a pick up bar which consists of 7 eighth notes. The Latin-flavored melody will change to a swing feel after the short saxophone break. Every time I listen to this break section, I can't define the right quarter beats and the rhythm section returns to work in very strange position. Sonny Rollins might have given the whole ensemble a cue for when to come in. Max Roach appear as a dictator and defines the downbeat, and everybody follows along.

This composition reminds me of Sonny Rollins' composition, "Pent-up House". One strong similarity is that "Pent-up House" is written in AABA form. However Pent-up House has16 bars, and Paradox is 32 bars long.

The most interesting parts of this composition for me are measures 4, 12 and 28. After Sonny plays three phrases in addition to the pick up notes, he plays a one bar phrase, one octave down. Listed above are these locations and you would never imagine that those are parts of the theme melody. But Sonny plays them as if it is a part of his job. At this point, you might be reminded of other great saxophonists' performances within these journal writings. If Jimmy Heath or Benny Golson would have written this kind of composition, they would layout themselves and let the pianist and/or bassist play the line.

Compared to Brown/Roach quintet, this recording is more experimental. For example, the B section melody is not determined at all. While on the head in melody, the bass started walking and Max plays with a flam tap movement for two bars. Sonny Rollins responds with 2 bars of zigzagging, descending 8th notes. They repeat the same thing in the second half of section B. The same section on the head-out chorus basically has the same idea, but Sonny Rollins improvises over Max Roach's flam tap. It is like Ornette Coleman with Billy Higgins in 1960's.

Raincheck: This composition was a famous Duke Ellington and Billy Strayhorn tune, however not many musicians have recorded this particular composition, despite the amount of Ellignton's and/or Strayhorn's tribute albums that have been produced. For a long time, I thought the form of this composition was AABA :32 bars divided into 8 bar phrases. This composition is indeed 32 bars, but divided into 4 bar phrases. The form is changed to the AA' AB AA' CA'.

Sonny Rollins plays a 2 bar solo as a call, and the drummer Max Roach responds with a tight 2 bar fill in. Basically the A sections of the head-in chorus consists of Sonny Rollins playing 2 bars solo as a call, and the drummer Max Roach responding with tight 2 bar fill ins. The rhythm section swings in only the section B and section C. The tricky part is the end of the head in chorus. Max Roach sets up a hi hat 4-bar break, however he comes in one bar early. Some listeners might turn around the beat here.

The first solo is Sonny Rollins. Not many tenor saxophonist had both a layed-back feeling and a right on top of the beat feeling at the same time. Before Sonny Rollins, the only tenor saxophonist I can recall who had a similar style is Coleman Hawkins. Sonny Rollins also used the long tone approach like many trumpet players. In addition to this approach, you can enjoy Charlie Parker-type phrases -- especially in the 10th measure of the 3rd chorus. This will make many jazz instrumentalists smile. Max Roach is the second soloist. Behind his open solos, pianist Ray Bryant keeps comping with simple whole note chords as the guide for soloist and band members including himself. Ray Bryant is the third soloist. On this track, you can enjoy his virtuoso technique which was fully developed from Bud Powell's bebop concept.

After the piano solo, it is challenging for us to understand what they are doing. It is very creative approach to this music. First I thought it is a regular 8 bar trade between Sonny Rollins and Max Roach. But Sonny ends the first phrase on the 6th bar. Therefore each time Max ends his phrase, there are extra two bars to complete his section. Compared to the previous Max Roach's solo that was open, Ray Bryant is not comping at all. At the very last moment, the magnificent Sonny Rollins uses extra two bars for the pick up to the head out chorus. He also carries on the solo and flies right into the melody. Contrasted to the head in chorus, Sonny and Max don't do call and response, you can enjoy the whole active ensemble.

There Are Such Things: This piece was a ballad which was originally recorded by Tommy Dorsey Orchestra featuring Frank Sinatra. The lower single bass notes were the first thing played by George Morrow. Sonny Rollins starts playing a part of the melody, rubato with pianist Ray Bryant as an intro to the piece. Sonny Rollins playing nicely matches Ray Bryant's block chords. When the 2nd fermata hits, Sonny Rollins plays different sets of diminished decorative runs. Then takes a second to give a cue to Max Roach to enter on the down beat.

The strong quarter beats are played by the bassist Morrow to support Sonny Rollins' floating melody lines. Sonny Rollins used the diminished scale quite often to define the dominant ii-V motion. When the official solo starts, the rhythm section switches to a double time swing feel.

At the end of second chorus, George Morrow plays quarter pedal notes. It creates a slightly confusing signal to the whole ensemble and especially Sonny Rollins. Sonny Rollins responded to the pedal note and as if he had finished his solo. Therefore Ray Bryant comes in as a soloist briefly on the third chorus, but Sonny Rollins keeps playing his solo. It is a interesting moment and you will enjoy listening to the true beauty of the art.

It's AlRight with Me Audio File

Download Sheet Music for Sonny Rollins' Changes on "It's Alright with Me".

Solo Guitar Arrangement/Performance by Hideaki Tokunaga