Category: Features

Checking Out Some More From Sonny Rollins

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As you might expect I’ve been in a bit of a Sonny Rollins head lately, lots of great memories of seeing him live. When he would do a week-long gig at the Vanguard or Half Note, I would see him just about every night, every set, usually going with my friend Dan Axelrod. One of the great things, out of many great things, about Sonny was that he never seemed to play the same way each night, even though he would have a set song list for the entire week’s gig. He was always pushing himself to find new ways of expression. Anyway, being in this head, I’ve spent some time perusing YouTube in the past few weeks, looking at vintage Rollins performances, interviews and tributes. Here are some of my favorites. Please feel free to share yours in the comments section.

My One and Only Love

I’m Old Fashioned

Don’t Stop the Carnival

If Ever I Would Leave You

The Jazz Video Guy has some great interviews, including

Art Tatum and the Great American Songbook

Finally, Dan sent me this amazing article from The Nation

Sonny Rollins Lived To See Justice for His Wrongly Convicted Father

Sonny Rollins

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Back in 2011, when Sonny Rollins finally received his long-overdue recognition from the Kennedy Center Honors, I wrote the follow words on Jazz Collector, expressing what I felt should have been expressed at the tribute:

“Jazz is a unique art form in that it enables – in fact, it requires – the artist to perform on the fly, as part of a unit of other musicians and without a safety net, and it demands not only immense technical skill, but a mind that can constantly plumb the depths of creativity to avoid cliché and deliver something new, exciting, clever, unique and, at times, innovative. In the mid-1940s there was a revolution in jazz that came to be known as bebop, led by musicians such as Charlie Parker, Dizzy Gillespie and Thelonious Monk. Sonny Rollins came along as a teenager at the tail end of the bebop revolution and he was able to fuse the concepts of this new generation with the ideas and masters of the previous generation, such as Coleman Hawkins and Lester Young, to bring the art of jazz improvisation to levels that the music has rarely seen, before or since. If you listen to some of the masterful Sonny Rollins albums of the 1950s, such as Worktime or Saxophone Colossus, you will hear an artist who was able to set new standards of improvisation – in creativity, in humor, in conception, in technique – that truly changed the course of jazz history and influenced every single jazz musician who came afterwards. With one or two exceptions, Sonny Rollins was without peer as an improviser, as a genius in creating music that was fresh, bursting with energy and ideas, and always inspiring. Read more

Old and New Vinyl, Blue Note Style

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I’ve been meaning to write this post for a few months, but life has a habit of getting in the way. Anyway, last month I wrote a post about my experiences with the Craft OJC Series (Old Vinyl, New Bottles, Craft OJCs), and now I shall write about my experiences buying a few “new” titles from the Blue Note catalogue. At the time I brought the Crafts, I bought five records from Blue Note. Two were from the Tone Poet Series: Dexter Gordon Landslide and Sonny Red, Out of the Blue. Two were from the Blue Note Classic Vinyl Series, Hank Mobley, Roll Call, and Horace Silver, Serenade to a Soul Sister. The final record was a new discovery, Horace Silver, Silver in Seattle: Live at the Penthouse. Read more

More Live Jazz: Isaiah J. Thompson

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I saw a terrific jazz concert the other night here in The Berkshires. The pianist Isaiah. J. Thompson led a quartet playing holiday music, including a familiar batch of songs written by Vince Guaraldi for the “Peanuts” series. I became aware of Thompson during the past few years when he appeared here in Great Barrington with the guitarist/vocalist/raconteur John Pizzarelli. I was extremely impressed with his playing. He has really strong technique and, even better, he really swings. When I saw that he would be appearing with his own group at a relatively new venue in Great Barrington, I got tickets immediately. Read more

Live Jazz, With A Classical Touch

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I saw an excellent jazz concert the other night here in my amazing community of The Berkshires in Western Massachusetts. It was the Ted Rosenthal Trio with Special Guests. The trio being Ted Rosenthal on piano, Noriko Ueda on bass, and Quincy Davis on drums. The special guests being Anat Cohen on clarinet and Sara Caswell on violin. The theme of the concert was “Classics Reimagined.” It featured a number of pieces by classical composers such as Chopin, Dvorak, Beethoven, Satie, Rachmaninoff, Tchaikovsky, and others reimagined, arranged, and performed as jazz pieces. I know very little about classical music, but I know a lot about jazz and, to me, each of the pieces sounded as if it could have come out of a standard jazz songbook. They closed the set with a Tchaikovsky piece that echoed Diz and Bird right out of the bebop era. There were also beautiful ballads, such as a duet by Rosenthal and Cohen on a Chopin piece called Waltz in E-Flat. Anyway, the trio travels all over the world, so if you ever get a chance to see them, I recommend them highly. Also, if you’re interested in hearing the music, it is available on CD and perhaps other formats under the title Ted Rosenthal Trio, Classics Reimagined: improp2. I walked out of the concert with a copy of the CD. Actually a couple of CDs, as well as a video clip I was graciously allowed to record and subsequently post on YouTube. If you want to listen, here it is: Ted Rosenthal Trio With Guests, Linde Center, Tanglewood, Nov. 28, 2025, Classics Reimagined.

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Favorite Blue Notes, One More Once

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I figure if I keep writing about Blue Notes and putting Blue Notes in the headline, I’ll start scoring well on Google and all of a sudden the many people who have abandoned Jazz Collector in the past year or so will come charging back. Or not. In any case, to follow up on yesterday’s post and some of the comments, I’ve narrowed down my list of Top Ten Blue Notes and I believe I can settle soon on a Top Ten.  Seven of them are known because they were on the list I began compiling in February 2010 (More Blue Note Favorites, Courtesy of Downbeat). Hard to believe that was nearly 16 years ago. My tastes haven’t changed in all those years. Read more

Favorite Blue Notes, One More Time

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So, speaking of my radio show/podcast, I’ve been thinking for a while about doing a show titled “My 10 Favorite Blue Notes.” Three things have stopped me so far: 1. It’s not so easy to identify my 10 favorite Blue Notes; 2. Even if I did identify them, would I want to take them out of the house, bring them in the car, and place the vinyl on the turntables/needles in the radio station’s studio; and, 3. I recall a Downbeat issue from several years ago in which a variety of musicians were asked to name their 10 favorite Blue Notes. I wanted to consult with that issue before doing the show. It would give me more interesting fodder to discuss. My Downbeat collection is sitting up in my attic and combing through them all to find a single issue would be a bit of a hassle.  Of course, it might not be necessary to comb through all of them, now that there is this thing called the internet and this other thing called artificial intelligence. So this morning I got up early and did a search: Downbeat 10 Favorite Blue Notes. What came back was fascinating. Read more

Duets, Anyone?

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It’s been a while since I’ve done a “regular” post. But as you can see, I’ve been very busy doing my two-hour radio show and podcast every week. Listenership at Jazz Collector is way up, but readership is way down. I love doing the radio show and it is really helping me extract more pleasure from and appreciation for my collection. I have no intention of slowing down there. But I would like to do more writing on Jazz Collector now that we are heading into the winter doldrums here in the lovely Berkshire Mountains of Western Massachusetts. One way to do that is to combine my passion for doing the radio show with a renewed commitment to do more writing. So, let’s see how it goes, starting now. Read more

Random Notes from The Jazz Collector Inbox

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Clearing out some emails from the Jazz Collector inbox.

A reader writes that he recently  found a series of Jazz Review magazines at an estate sale. Most of these seem to be from the late 1950s and early 1960s. He’s been selling them on eBay, but if anyone is interested they can contact me and perhaps get access to some of them before they are offered to the general public. This is one of the listings that has already sold: The Jazz Review.

There will be a New Jersey Record Bash this year, June 19-June 21 at the Hilton Garden Inn in Edison, New Jersey. I used to attend this even fairly regularly, sometimes as a vendor, sometimes as an attendee, always as a buyer. It was always a good event, but I haven’t been in years. You can get details at their site 49th Annual Jazz Record Collectors’ Bash.

Speaking of record shows, the WFMU Record fair is back in New York this year, Nov. 8 and 9 at the Metropolitan Pavilion. That was always one of the best shows around, so I’m planning to be in New York for that one, strictly as a buyer. Not looking to sell anything . . . yet. Read more