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Sonny Rollins LIVE IN LONDON (Harkit)


JSngry

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Ok, for years now I've read reviews of Sonny's club dates from the mid-60s, and they all go on and on about how the guy was into a stream-of-consciousness medley thing, starting and stopping at will, changing tunes in mid-stream, playing long solo interludes, walking all over the room to get different sounds from different areas, all kinds of stuff that makes it sound like the gig wasn't just a gig, but an EXPERIENCE.

Trouble is, all the Rollins bootlegs I've got from this era are concerts, not club dates, and although he gets into a little bit of that on those, it definitely seems that he was more mindful of the setting and time allotments than he would have been in a club date. So all those reviews have remained as triggers of tantalizing fantasies of things never to be heard.

Until now.

rollin_sonn_sonnyroll_104b.jpg

Ronnie Scott's, January 8, 1965, opening night, first set (if Scott's announcement is accurate). Stan Tracey, Rick Laird, & Ronnie Stephenson along for the ride.

And what a ride it is! Everything the old reviews mention is here. It might make for disjointed listening for the more passive listener, but if you can put yourself in the place of an audience member in the club hearing it as it unfolds instead of being a 39.5 year-after-the-fact listener checking out a CD at home, it gets pretty hairy (in the best possible way). THIS is improvisation in every sense of the word!

Tracey is at a loss most of the time, as well he should be, being a pianist and all, Laird copes well enough, but Stephenson is with Sonny every, EVERY step of the way. Their interplay as Sonny stops and starts, bobs and weaves, cuts in and out of tunes, is darn near perfect. In fact, Sonny actually seems to be locking in on him and engaging him in a way that he didn't always do with American drummers (and definitely doesn't do today).

As for Sonny himself, he's in that glorious mid-60s form of his where nothing is as it seems, and everything can be anything at any time. This is not the most coherent example of this style on record (and given the nature of the event, I'm actually glad it's not), but it is definitely some of the most adventurous, all things considered. Henry Threadgill has talked about seeing Rollins live during the mid-60s and what a huge impression it made on him, and I think you can hear how and why quite clearly on this date - the vibe of "concrete abstaction" (or vice versa) is very much to the fore here, in the tunes themselves, certainly, but especially in how the set flows from tune to tune (and back again and back again and back again and back again and back again and back again). some of the "interludes" sound like Air tunes just waiting to happen!

Highlights are many - an absolutely incindiery 15:55 "Four" that is every bit as definite as what preceded it has been open-ended (Sonny just up and BAMS!!! into it and doesn't let up), a "My One And Only Love" that shows Rollins' gift for totally redefining a melody through shading and phrasing (and the occasional out-of-nowhere "wrong" note", and a "Blue 'N' Boogie" that may or may not be that a blues all the way through, one that finds Sonny finding some very jarring melodic and rhythmic structures simply by playing parts of the melody, stopping it on a passing tone instead of the resolving one.

Recording quality is good enough to hear everybody (even if Sonny's "strolling" takes him to and from the mike to varying degrees for various durations at various time).

Not recommended for everybody - too many people like their Rollins in "classic" form for me to do that. This is NOT the Sonny Rollins that you hear on any of his studio dates, including the RCA/Impulse ones. But it does have enough of those elements to it that I feel safe in recommending it to those who would be interested in hearing the great man treat a gig not like a set, but rather as an act of totally spontaneous, all-involving, creation. I've listened to it about 5-6 times now, and it actually gets wilder with each listen! And boy, do I feel sorry for Stan Tracey (well, not really, but that's the polite thing to say, I suppose).

In short, it ain't perfect, but it is pretty darn fine, and damned if you'll ever hear anything like it anywhere else unless you got some private tapes from the same era.

If you do, let me know - I'll be your friend! ;)

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i can't wait to get this.

I thought you hated Sonny and his playing (lame shit)?

fa.ce.tious

...my fault, I must have read more into your previous posts ;) .....in any event, I can't wait to hear this, will pick it up at the Dusty Groove this week (those bastards) :g .

Mark

(you could just spell it "facetious", I can figure it out) :D

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i stand by all my posts about sonny being overrated.

i was joking when i said that i can't wait to hear this new release.

I really was confused :wacko: , I thought you really were looking forward to it. I'm not really bothered that you don't like Sonny, I'm just pokin' a little fun at you; to each his own!

Mark

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i stand by all my posts about sonny being overrated.

i was joking when i said that i can't wait to hear this new release.

If you dislike Sonny so much, why bother even reading a thread devoted to him? :huh:

And then to make a confusing joke about it... ?

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i stand by all my posts about sonny being overrated.

i was joking when i said that i can't wait to hear this new release.

If you dislike Sonny so much, why bother even reading a thread devoted to him? :huh:

And then to make a confusing joke about it... ?

just because you were confused, does not mean that all others were confused.

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i stand by all my posts about sonny being overrated.

i was joking when i said that i can't wait to hear this new release.

If you dislike Sonny so much, why bother even reading a thread devoted to him? :huh:

And then to make a confusing joke about it... ?

just because you were confused, does not mean that all others were confused.

I was confused too

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Please post your impressions of the music on this cd. I'm interested to hear what you have to say about it.

Kind of on the fence about getting it, not being a real big fan of the mid-60s Sonny and all...

how dare you say anything against sonny, no matter what decade.

you know, he used to play on a bridge. great stories in all the books about people seeing sonny out there on a bridge playing sax (or was it just one person who saw him only once, and the stories spread from there. and the retirement/unretirement periods, can't get enough of those stories.

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