Walter Theodore "Sonny" Rollins (born September 7, 1930) is an American jaz… Read Full Bio ↴Walter Theodore "Sonny" Rollins (born September 7, 1930) is an American jazz tenor saxophonist who is widely recognized as one of the most important and influential jazz musicians. In a seven-decade career, he has recorded over sixty albums as a leader. A number of his compositions, including "St. Thomas", "Oleo", "Doxy", "Pent-Up House", and "Airegin", have become jazz standards. Rollins has been called "the greatest living improviser" and the "Saxophone Colossus".
Rollins was born in New York City to parents from the United States Virgin Islands. 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. He attended Edward W. Stitt Junior High School and graduated from Benjamin Franklin High School in East Harlem. Rollins started as a pianist, changed to alto saxophone, and finally switched to tenor in 1946. During his high school years, he played in a band with other future jazz legends Jackie McLean, Kenny Drew, and Art Taylor.
As a saxophonist he had initially been attracted to the jump and R&B sounds of performers like Louis Jordan, but soon became drawn into the mainstream tenor saxophone tradition. The German critic Joachim Berendt described this tradition as sitting between the two poles of the strong sonority of Coleman Hawkins and the light flexible phrasing of Lester Young, which did so much to inspire the fleet improvisation of bebop in the 1950s. Other tenor saxophone influences include Ben Webster and Don Byas. By his mid-teens, Rollins became heavily influenced by alto saxophonist Charlie Parker. During his high school years, he was mentored by the pianist and composer Thelonious Monk, often rehearsing at Monk's apartment.
Rollins has played, at various times, a Selmer Mark VI tenor saxophone and a Buescher Aristocrat. During the 1970s he recorded on soprano saxophone for the album Easy Living. His preferred mouthpieces are made by Otto Link and Berg Larsen. He uses Frederick Hemke medium reeds.
Rollins was born in New York City to parents from the United States Virgin Islands. 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. He attended Edward W. Stitt Junior High School and graduated from Benjamin Franklin High School in East Harlem. Rollins started as a pianist, changed to alto saxophone, and finally switched to tenor in 1946. During his high school years, he played in a band with other future jazz legends Jackie McLean, Kenny Drew, and Art Taylor.
As a saxophonist he had initially been attracted to the jump and R&B sounds of performers like Louis Jordan, but soon became drawn into the mainstream tenor saxophone tradition. The German critic Joachim Berendt described this tradition as sitting between the two poles of the strong sonority of Coleman Hawkins and the light flexible phrasing of Lester Young, which did so much to inspire the fleet improvisation of bebop in the 1950s. Other tenor saxophone influences include Ben Webster and Don Byas. By his mid-teens, Rollins became heavily influenced by alto saxophonist Charlie Parker. During his high school years, he was mentored by the pianist and composer Thelonious Monk, often rehearsing at Monk's apartment.
Rollins has played, at various times, a Selmer Mark VI tenor saxophone and a Buescher Aristocrat. During the 1970s he recorded on soprano saxophone for the album Easy Living. His preferred mouthpieces are made by Otto Link and Berg Larsen. He uses Frederick Hemke medium reeds.
God Bless the Child
Sonny Rollins Lyrics
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@jeffryhammel3035
Who out there were so captivated by Sonny's albums (Saxophone Colossus, Way Out West, The Bridge) as I was? And of course, all his work after. This is a beautiful rendition on that so inspired "Bridge" album.
@timhopkinsmusic1
whole heartedly agree
@JeffreyGuevin
Every time I hear Bob Cranshaw from this era, I'm puzzled anew about his later decision to go all-electric. His acoustic sound is so very nice, and try as I might, I've never understood how he decided his electric sound was an improvement.
Anyway, this is a gorgeous version of GBtC...one for the ages.
@igorlumpert4518
He had an accident so going all electric was a direct result of that...
@JeffreyGuevin
@Igor Lumpert wow, I'd never heard that!
@alexgreen5064
That opening bass part is so beautiful
@MrMusicguyma
I like Sonny's (and Jim's) reverence for the bare melody, then taking it slightly "out" via their individual interpretaions of the harmonies of the blues and jazz and folk music. Mesmerizing. These guy know how to "speak" on their instruments. A real conversation. This is how it should be done, folks, IMHO. I never heard a better instrumental version. By now, many of you have heard the the story of how Sonny wanted to work with Jim (who did not have a phone), so Sonny wrote a letter and put it in Jim's mailbox, and then they got together and, voila, you have this ;)
@davidhubbard4761
MrMusicguyma that reverence for the bare melody has kept me searching for years now
@djangowoof
and then Sonny came over to talk with Jim and he had a paper bag that kept moving. Jim asked what it was. Sonny wouldn't tell until they finished talking. Finally he showed us - it was a salamander. Jane
@UkuleleAversion
I did not know that story but thanks for sharing. I'm glad Sonny has such a good ear for not only the music but also musical partners.