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Sonny Rollins complete live at the village gate 1962


uli

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I'm now on disc 3.  I love it.  Moreover, I think the presentation (complete sets, stretching out at length) really help the music, gives it context.  I heard Our Man In Jazz as almost a psychodrama, with Cherry trying to pull Sonny to the Ornette side, and Sonny alternately finding it seductive and fighting against it.  Listening to this, it's just 4 guys jamming and improvising like crazy.  Cherry's a good foil to Sonny, and really plays far more "inside" than is evident (at least to me) on Our Man In Jazz.  I'm enthusiastically looking forward to listening to the rest of the box.

P.S.  Yes, two big thumbs up to Cranshaw and Higgins.  Of course!

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If Sonny Rollins was Charlie Christian or Lester Young, this release would be Jerry Valburn...except that Valburn at least had the balls to put his name on his thets. "Solar" is, like, what, a system? Like Lydian Chromatic Concept? Or How To Win At Blackjack? Yes? No?

I still do not know who actually stole this from the RCA vaults, or how, or when. I know who first told me about it, and they might be a suspect, but I don't think so. Being in the front line of awareness does not equate to actually doing the deed.

So this would be Jerry Valburn if somebody had dared to just say, oh, look what I found! Instead, it,s all, uh, this got here, somehow. But nevertheless, this has been a heroic theft, although a cowardly release, so right and so wrong at the same time.

And oh yeah, that "Oleo"  on Disc Two is one of the biggest SonnyMindFucks I've had in ages. He starts it faster than anybody in the band can sustain and as it setlles in to as up as it can at that particualr time, Sonny gets all "shit, I wish Max was here, then we could play FAST" and just...unleashes. Up a gear or two.

I think at this point, Sonny was still working on incorporating all that he had learned about the horn in his off time (which was a pretty massive amount, and learned past perfection). At times,he seems to be practicing while he's playing, and ill-informed "populist" notions to the contrary, there is nothing at all intrinsically wrong or self-indulgent with doing that. It's a perfectly natural part of the process. The goal, however, is to get it to that next level, and on this take, it's full-frontal IN there. And interestingly enough, as I heard it, the "Solitude" that precedes it is not quite. Which is not to say that it's not absurdly good, it is, but it's..."destinational". This "Oleo" is.."arrivitised".

It's a creepyasspunk issue, but sometimes life is right in spite of/while still being wrong. Ambivalence, equilibrium, stand AND fall, choices are not always options, Boris Rose took, Jerry Valburn thieved, and yes, I have plenty of both men's work.

What would be REALLY nuts is if it was Sonny himself who leaked this shit out. Sonny Valburn Rollins, you live long enough, hey...

 

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I've been listening to this almost exclusively for about a week. AMAZING stuff. I wonder how this would sound if don and sonny were mixed and not panned hard. Though the panning works. Everything is right and wrong with the music. Legal or not this release has been my favorite this year. I feel bad for sonny not getting his share, but sonny has so many recording he doesn't release for whatever reason. I like the road shows series, but prefer full shows/sets to compilations like the road shows are. 

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I've been listening to this almost exclusively for about a week. AMAZING stuff. I wonder how this would sound if don and sonny were mixed and not panned hard. Though the panning works. Everything is right and wrong with the music. Legal or not this release has been my favorite this year. I feel bad for sonny not getting his share, but sonny has so many recording he doesn't release for whatever reason. I like the road shows series, but prefer full shows/sets to compilations like the road shows are. 

:tup

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I hope that somebody can get Bob Cranshaw to recall as much detail as possible about these "Untitled Original" things. How they started, how they evolved, how much was sonny, how much was Cherry, were they just jams that evolved or sketches that grew, etc. They're in some way the least "successful" things to be found here, but also the most interesting in terms of process, and not really like anything Sonny had done before or after, at least that's come to light. And, as with all of this music, there are technical things that sonny does, saxophonistic things, that are just mind boggling, most of which he would get looser with in the next year or two, but some, like the almost classical tone he gets in some spots, that I've never heard him do anywhere else.

50 years is a long time, and I get why RCA was kinda lost at what to do with all this, and I can see why Sonny would want to move on, but damn....this is one fascinating group, and to hear it all at once like this is really a revelation. An official release with some serious documentation and packaging would have been so freakin' awesome, to the point of being necessary, but...ain't no livin' in a perfect world.

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