Album of the week: Sonny Rollins: Sonny Meets Hawk

[Chuck Nessa]

The Newport gig WAS recorded, and the studio date done as a "make up" since Sonny didn't approve the tapes. They are probably in the archives.

The same year RCA recorded the Joe Daley Trio at the fest and took the band in the studio to dummy up a live set ala Ellington at Newport.

[paul secor]

I find this a fascinating record - Everytime I listen to it, I hear new things. A lot has already been written, so I'll just list some thoughts and hope that adds something.

When I listen to the beginning of Sonny's first solo on "Yesterdays", I tend to think that he's mimicing what Hawk has played previously. Then it seems that he's just taking what Hawk has played and going his own way with it. I get the same feeling with some of Sonny's solo on "McKies'"- he uses Hawk's solo and style to play his own thing.

I find Paul Bley more of a rhthmically interesting player than an strong rhythm pianist. I do feel that if a more conventional piano cat had been used, this recording would not be nearly as interesting. If, say, Tommy Flanagan or Barry Harris or Ray Bryant had played, I don't think I'd have enjoyed the record as much. (This is not a denigration of those gentlemen's abilities - merely to say that oftentimes less familiar is more interesting.) Sonny wasn't recording much with pianists during this time frame, so Bley, with his more spare style, was probably a good choice.

I enjoyed Coleman Hawkins' playing throughout, especially on "Lover Man" (his playing is majestic) and "McKies'". I don't have the feeling that Hawk is intimidated or feels uncomfortable with Sonny's playing. They both seem to just play their own styles without major problems. After recording with Monk, I don't think that Sonny Rollins was a problem for Hawkins.

I like the way that Sonny begins "Summertime" by playing his solo without directly stating the theme.

It's amazing that some jazz critics of the period were upset with Archie Shepp's (to give one example) playing.

What Shepp was playing wasn't much further out than what Sonny plays on much of this record.

I find it annoying that several of the tunes end on fades.

These were master musicians. They knew how to end a performance.

I'm listening to the French RCA 2 LP version. The photo of Sonny on the cover reminds me a bit of Tim Duncan of the San Antonio Spurs.

Good choice, pryan. It can't be easy to choose a record that many people have and are willing to comment on.

Edited May 24, 2003 by paul secor

[pryan]

Allegedly recorded, allegedly still in the can, allegedly at Rollins' demand.

Also allegedly in the can at RCA - hours, literally hours (some rumors have the figure in double digits) of unreleased stuff from the Villiage Gate/OUR MAN IN JAZZ dates, again being forbidden from release by Sonny's refusal.

Lucille is likely to get some pretty interesting offers when the dark day comes...

Those tapes would indeed be interesting to hear, if and when they do come out.

Glad to hear that most people enjoyed having this one as AOTW. Thanks to everyone for their excellent input, as usual, and thanks to AfricaBrass, for selecting me to choose this week. Anyway, enough of the 'thank yous', I'm starting to feel like I'm on the Academy Awards....

[Guy Berger]

Very nice album. I think I like it better than The Bridge -- Hawk plays great, Sonny has a nice a-g edge to his playing, and Paul Bley adds that special something.

Guy