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Sonny Rollins - Milan 1982


JSngry

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That one man can play so much music is at once inspiring and sobering. That anybody can put so much air through the horn to get a sound like that would make me ashamed of not taking better care of myself, except...not even people who do take care of themselves can do it. I mean, damn...

Ain't none of the records come close to this, not even a little.

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So I found a DVD for a few bucks recently, Sonny Rollins Quintet, Live in Montreal 1982. The group has two guitarists, Bobby Broom and Masuo, with Bob Cranshaw on bass guitar and jack DeJohnette on drums. It's rather good, with Sonny in fine fettle, and I like the group as well. It says June of 1982. Appears to be an E.U. bootleg type of DVD.

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So I found a DVD for a few bucks recently, Sonny Rollins Quintet, Live in Montreal 1982. The group has two guitarists, Bobby Broom and Masuo, with Bob Cranshaw on bass guitar and jack DeJohnette on drums. It's rather good, with Sonny in fine fettle, and I like the group as well. It says June of 1982. Appears to be an E.U. bootleg type of DVD.

http://www.youtube.com/watch?v=9Cmm4OoMTaY

The best track here is "I'll Be Seeing You" that contains some of my favorite Sonny of recent decades. He plays the hell out of the changes while keeping the melody present, spending most of the 9 minutes trading with Jack DeJohnette. Sonny bites off some truly inspired bebop that has a purity that harks back to his best '60s work. It's all a highlight to me, starting with a really slick intro, but I especially love the passages that start at the 3:44 mark:

He starts an ascending phrase that quickly u-turns and heads for the basement, before heading back to the middle register to end with a quintessential Rollins rhyme-resolution.

In his next 4 he picks up on DeJohnette's rhythm (and seemingly his pitch) with a rapidly stuttering figure that struts like a peacock. Dig the physical manifestation as Sonny straightens his spine and sticks his chin and chest out.

In the next 4 he opens with a loose, swirling figure in the upper register that threatens to get away from him, but he uses his infallible inner pulse and pinpoint, percussive articulation to lock back into the pocket. This is some of the shit he perfected in the 60s.

In the next 4 he enters with a melody that already seems in motion, before swooping down like an eagle and letting his momentum carry him well into DeJohnette's break.

It's all personal taste at some point but this is the way I would want to play.

Edited by Mark Stryker
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