This week’s theme: Sonny Rollins. Featured artists include Sonny Rollins, Max Roach, Clifford Brown, Richie Powell, George Morrow, Miles Davis, Horace Silver, Percy Heath, Kenny Clarke, George Cables, Bob Cranshaw, David Lee, Ray Brown, Shelley Manne, Barney Kessel, Hampton Hawes, Leroy Vinnegar, Ben Riley, Jim Hall, Ray Bryant, Red Garland, Philly Joe Jones, Paul Chambers, Wade Legge, Kenny Dorham, Tommy Flanagan.

In addition to this podcast featuring Sonny Rollins, I’ve also done several Sonny-themed podcasts in the past. Here’s a list:

April 21, 2025, Sonny and Trane, Trane and Sonny

Nov. 11, 2024, Rollins Plays Rollins

May 27, 2024, Sonny Rollins, European Tour, 1959

Jan. 29, 2024, Random Rollins

June 26, 2023, Sonny Rollins, Prestige

The one from June 26, 2023, was  the third show I ever did and the first themed show after two introductory shows.

This week’s theme. Miles Davis Centennial. Miles with Bird, 1945-1947, Dial and Savoy. Featured artists include Miles Davis, Charlie Parker, Dizzy Gillespie, Sadie Hakim, Curly Russell, Max Roach, Lucky Thompson, Dodo Marmarosa, Arvin Garrison, Vic McMillian, Roy Porter, Bud Powell, Tommy Potter, John Lewis, Nelson Boyd, Duke Jordan.

This week’s theme: A cornucopia of alto sax recordings. Featured artists include Charlie Parker, Art Pepper, Sonny Stitt, Cannonball Adderley, Phil Woods, Gene Quill, Marshall Royal, Johnny Hodges, Charles McPherson, Jackie McLean, Herb Geller, Eric Dolphy, Lou Donaldson, John Handy, Hal McKusick, Paul Desmond and many more.

“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.

“But Sonny was never content to rest on his laurels and, in fact, was never satisfied with his own work, even though his colleagues and peers came to respect, admire and laud him as one of the true masters of modern jazz. One of the things that makes Sonny Rollins so special among jazz artists has been his true humility and belief that he can always improve, always learn more. This quest led him famously to the Williamsburg Bridge, where he spent two years in self-imposed retirement to practice and improve his skills. This quest to be innovative, to improve, to experiment, to pioneer, has also led Sonny in many other directions, and continues to lead him to this day. Not many people realize it, but one of the the first record albums in the United States to use the words “Bossa Nova” was the Sonny Rollins album “What’s New?” Not many people realize that it was Sonny Rollins who composed and performed the music to the original movie Alfie. Not many people realize it, but it is Sonny Rollins who is regarded all around the world – in France and England, in Japan and Russia, in South America – almost everywhere – as one of the true treasures of American jazz and one of the great musicians the world has produced in the past century. It is wonderful, exciting and long overdue that Sonny Rollins is finally receiving this same recognition in the United States.”

Last night I went to bed with tears in my eyes seeing the news that Sonny had died at age 95. This morning I woke up, pulled out a dozen of my favorite Sonny records, and headed to the radio studio in Pittsfield to record a tribute to Sonny. On the way I called my friend Dan Axelrod to reminisce and share stories:

The rainy night in 1972 that Sonny returned to the Village Vanguard for the first time in years and we were able to hear him live for the first time. Bliss!

The night at the Half Note in the middle of the week, last set, there were eight of us in the audience: Danny and me and a table of three dressed-to-the-nines couples from Sugar Hill in Harlem, who said they hadn’t been out to see live jazz in years, and Sonny put on a show for them that might have been the most inspired tenor playing I ever heard in my life.

The time we were shut out of the Museum of Modern Art when Sonny was giving a free solo show and, without hesitation, I went up to the press gate and confidently said I was Bob Porter representing Downbeat Magazine. I was 5’5” and about 150 pounds; Bob Porter was about 6’2” and 230 pounds. No matter. They let us in and we just blended into the crowd. What happened to Porter? Don’t know and don’t care. Danny and I saw Sonny.

This morning I told these and other stories on the radio and played many of my favorite Sonny Rollins records. To be honest, most were from the 1950s. Not that his later material wasn’t worthy, just that this was the Sonny Rollins music I first heard and first fell in love with. And still love and will always love.

Once the show airs, I’ll post it here at Jazz Collector. I hope you enjoy it. I know that the regular crowd isn’t here as frequently as in the past, but if you do happen to stop by looking for words about one of our true heroes, and if you happen to have anything to share about Mr. Rollins, this would be as good a place as any.

It is the end of an era, isn’t it?

The post Sonny Rollins first appeared on jazzcollector.com.]]> https://jazzcollector.com/features/sonny-rollins/feed/ 4 9978 https://jazzcollector.com/features/another-adventure-in-jazz-collecting-2/ https://jazzcollector.com/features/another-adventure-in-jazz-collecting-2/#comments Tue, 19 May 2026 12:05:07 +0000 https://jazzcollector.com/?p=9973 Here’s a teaser. I bought a box of records recently. A single box of records. Nineteen records in all. Here is a picture of the [...]

This week’s theme: Jazz recordings of songs from the pop/rock, television and even maybe a little Yiddish. Artists include George Benson, Freddie Hubbard, Herbie Hancock, Ron Carter, Grady Tate, Ray Barretto, Richie Cole, Bobby Enriquez, Jimmy Rushing, Zoot Sims, Stephane Grappelli, Martin Taylor, Sonny Rollins, George Duke, Roland Kirk, Rosemary Clooney, John Oddo, Seve Lukather, Jackie McLean, Tony Williams, Hank Jones, Charles McPherson, Sonny Criss, Tal Farlow, Cedar Walton.

Of course. The same invitation is open to anyone. Stuart reminded me that it is almost 10 years to the day since we published an earlier article – Adventures in Jazz Collecting, Tokyo Style. Couldn’t help but notice that there were 54 comments on that article. Bravo to Stuart and all of the commenters. Ah, the good old days.

Anyway, the article arrived the other day, along with the title Stuart suggested title, so, without further ado, may we present:

The Records (But Not the Music) Are Over

By Stuart Levine

Well, I did it. I sold my jazz record collection. Now approaching 70, I’m trying to downsize and just not finding the opportunity to listen to my LPs. You see, for years I’ve been living in Japan with my wife and two daughters, while all this time storing my records and audio equipment back on the West Coast. The irony is that I’m in the land (or rather, on the island) whose people love our American art form of Jazz, yet I, myself, can’t listen to my own records. I don’t want to bore anyone with details as to why not, but suffice it to say that living quarters are tight there and sound travels easily.

I’ll miss visiting the record stores – the crate digging and conversations with fellow vinyl enthusiasts. It had all started during my college days with CTI and fusion. But later, I discovered Hard Bop and “watch out” – I was hooked! Good thing I started making some decent money because as you know, those Blue Notes are expensive. So gone are roughly 400 LPs; however, I did keep a few. They are Somethin’ Else, Maiden Voyage and Kind of Blue.  All are first pressings. My copy of Kind of Blue is very early.  Just couldn’t part with these three.

As far as sales went, I did pretty well with my treasured vinyl. A VG++ Cool Struttin’ came in at a cool $4,283. A near mint Wahoo did a whopping $1,725 and even a VG+ Juju sold for $900, netting me $630. Yep, further evidence of Blue Notes’ cachet. On the other hand, Impulse didn’t do so well. My pristine mono copy of Blues and the Abstract Truth disappointed at 75 bucks. Gosh, darn it … wish I could have that one back as well as other gems in my collection such as Saxophone Colossus and A Love Supreme. Oh, stop it, Stuart! You’re done! There are always cds.

But before I close, I’d like to give shout outs to Charles Pearlman of Strictly Headies and Jason Perlmutter of Carolina Soul (thanks to Al for recommending Jason). They did such a professional job of listing my records on their eBay sites. With Charlie, who sold most of my jazz records, I got to visit Portland, Oregon, enjoying the greenery I don’t get in the Las Vegas desert where my parents live. And for the first time, I flew to Durham, North Carolina to meet Jason with a few jazz LPs and a good number of rock records. So, thanks guys … you represented my collection well, and I’m sure my records are spinning right now on worthy turntables. As for me, I think I’ll give a listen to “Stolen Moments” from my laptop computer.

This week’s theme: The Gershwin Songbook, as played by jazz pianists and their groups. Featured artists include: Oscar Peterson, Art Tatum, Bill Evans, Herbie Hancock, Red Garland, Billy Taylor, Bud Powell, Oscar Pettiford, Art Blakey, Paul Motian, Scott LaFaro, Hampton Hawes, Red Mitchell, Chuck Thompson, John Lewis, Percy Heath, Connie Kay, Ray Brown, Ed Thigpen, John Ore, J.C. Moses, Ray Barreto, Arthur Taylor, Paul Chambers, Randy Weston

This week’s theme is pretty much what it says: Tracks from 10 random Blue Note records, Artists include Lee Morgan, Art Blakey, Wynton Kelly, Paul Chambers, Arthur Taylor, Philly Joe Jones, Wayne Shorter, Herbie Hancock, Louis Smith, Dizzy Reece, Jackie McLean, Pete LaRoca, Cliff Jordan, Jon Gilmore, Freddie Hubbard, Curtis Fuller, Sonny Clark, Dexter Gordon.

Going in the opposite direction, I received an email with the subject line: NJ RECORD BASH SIGNOFF. This was a long-time event, nearly 50 years, according to the email. It was usually held in June at a motel or hotel in New Jersey. This is another one I used to attend regularly, back in the 1980s and 1990s. I remember one time getting there early and setting up a table and the guy next to me was setting up and he had a pile of original Prestige Swingville records in mint condition and I bought the entire pile for about $5 each. I still have those records. Sorry to see the Bash go, but the financial model must be a challenge these days, what with eBay and social media and people no longer getting together to socialize as they used to.

I’m on the mailing list for the labels doing reissues, such as Craft and Blue Note, but unfortunately I’m not on their promo lists for review copies. In any case, the email in box had a promo for new issues from the Original Jazz Classics series from Craft, including Introducing Lee Morgan, The Young Lions from VeeJay, and This Here is Bobby Timmons from Riverside. Blue Note is taking orders for a three-LP Tone Poet set of The Complete ‘Round About Midnight at the Café Bohemia from Kenny Dorham. This would comprise the original Blue Note 1524, plus the two Japanese LPs issued in the 1980s.