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"The Sonny Rollins Bridge"


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OK article for someone who, ostensibly, has little knowledge of what she's wrting about. The ending paragraph is quite cheesy, I thought. Trying so hard to emulate something like the ending to Woody Allen's Manhattan, or it just came out like that?

Looking at any city this way, but especially at one you live in—hovering above it, adjacent but removed—can feel like an out-of-body experience, the way people who get very close to death often talk about staring back at their own bulk from a curious remove. I asked Caltabiano if he thought he could hear the bridge on Rollins’s records from 1962 on. I wasn’t sure exactly what I meant by the question—whether I was inquiring about a rhythmic influence or a spiritual one, some kind of widening or diffusion. Rollins would release several dozen more albums, including some (like “Our Man in Jazz,” from 1962, which he recorded with members of Ornette Coleman’s band) that still feel searching, revelatory, new. Caltabiano was wearing sunglasses, but I saw his forehead loosen a little. “This is about freedom,” he said, gesturing around. The wind blew. Growth, change, self-preservation. I understood what he meant.

                                       FIN

 

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Edited by Dmitry
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