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Ed Newman
Ornette Coleman and Sonny Rollins, with Christian McBride and Roy Haynes, at Rollins's 80th birthday concert, Beacon Theater, New York City, September 10, 2010
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No one knows why exactly Sonny Rollins, the tenor saxophone colossus, hasn’t recorded a good studio album since the 1960s. Though he ranks alongside Charlie Parker and John Coltrane as one of the greatest jazz saxophonists in history, some say that his style was irreparably damaged by years spent experimenting with funk, disco, and fusion in the seventies and eighties. Yet anyone who has seen Rollins perform on a good night knows that, even at eighty-one, he is still capable of playing with the same brilliance that first made giants like Charlie Parker, Miles Davis, and Thelonious Monk take an interest in him in the 1950s. And if there were any lingering doubts, the news that Rollins won three major jazz awards this summer should dispel the notion that his best years are behind him.
In spite of his advanced age, Rollins remains one of jazz’s most talented improvisers. He has almost inexhaustible stamina, complete control of his instrument, and a seemingly bottomless reservoir of musical knowledge (ranging from jazz standards and pop, to folk songs and classical music), to say nothing of his decades of experience playing with almost every major figure in jazz. More important still, he has an impish sense of humor. He also has a keen appreciation of his audience; when performing he often walks into the crowd as he plays, hoping to draw inspiration from them.
In his newest album of live performances, “Road Shows Vol 2,” there are moments when you can hear all this firsthand. A compilation of two recent live shows, including his 80th birthday concert at the Beacon Theater in New York, the record captures Rollins playing with the energy of someone half his age. Particularly noteworthy is the twenty-minute version of his classic twelve-bar blues, “Sonnymoon for Two,” on which he is joined by the multi-instrumentalist genius Ornette Coleman. This is the first time the two have been recorded together, and to hear Coleman’s chirping free jazz side by side with Rollins’ more swing based playing is a historic occasion.
Perhaps more remarkable simply for the quality of playing is his performance on “Rain Check,” an old Billy Strayhorn song. As he and the 42-year-old trumpeter Roy Hargrove begin to trade fours—that is, exchange four bar improvisations—Rollins’ relentless exuberance overtakes the young trumpeter, whose playing improves audibly the more he interacts with Sonny.
