Sonny Rollins John Coltrane Tenor Madness
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- Опубликовано: 29 сен 2024
- E' un duetto della durata di 12 minuti tra i sax di Rollins e Coltrane, e la melodia blueseggiante del pezzo è diventata, con il passare degli anni, una di quelle meglio conosciute del repertorio di Rollins. È facile distinguere il suono dei due musicisti nel brano, Coltrane ha un suono più squillante mentre Rollins suona più rilassato e melodico. Nonostante le differenze di "sound" i due sassofonisti si completano l'un l'altro, e il brano non si trasforma in una competizione fra i due.
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Two masters of saxophone. Rest in peace John, live long Sonny.
DVA VELIKANA
The year is 1956 for the uninitiated.
Sonny at 25- /26-yrs.; 'Trane, 29- /30-yrs.
Their individual sound and style were already crafted out - making each artist easily identifiable
For some reason I had it in mind that Sonny was the older of the two.He must have had an earlier start than Trane.
sadly sonny recently announced he can no longer play. but the music is continues unsurpassed.
he said that in 2012...so 10 yeard ago LOL
Happy 92nd Birthday to Sonny Rollins!
夢の競演🎶🎶🎷😀🎶🎶👌
This is a timeless engagement, from the past generation to the current .The groove is current like grandad clock and right on time.The emotion and the spirit that constitute the make up of the composition will for ever highlight the commitment of the two cats who craved the landpost of jazz for generation to come.
Two tenor sax legends.
That's really valuable
Very nicely put together video.Thanks for uploading Gio Co
The guy is the best tenor saxophonist
Nothing more to say about musical genius. The two greatest bop saxophonists playing with and against each other.
Get on to this ya'ls
That is if you take it
RoyC.OldSKooooL 193
RESPECT
¹class
CLASSIC!!!!! Just close your eyes and identify when Trane or Sonny are playing
Two Giants .....who are the modern saxophone.....Brilliant.....
Two saxophone greats.
La gran virtud de Coltrane era que pasara lo que pasara, siempre, encontraba refugio en el estudio de la música. Así lo hizo desde aquella noche del 52' en Harlem. Cuatro años más tarde éste fue el resultado.
Forever young!
Jazz Giants, what else?
Red ripped this shit
Two of the very best!
Thanks
Favolosi!!!… 👍👍👍👏👏👏
🌾🌱🙄💙
Soberbios
What is that opening intro song?! It's on the tip of my tongue, but I cannot get.. bugging me all night!
finexample ciao " You don't know what love is" Sonny on tenor
Grazie signore! Mille Grazie! Yes, thank you for posting this. I love it! My favorite is the Chet Baker 80's version.
I just listened to a 10h European podcast radio show on Sonny Rollins (yes, 10x 1h, covering 1951-2001 !!!). My opinion of Rollins is that it seems very overrated to me. First of all as a player, he does not seem to me better than Johnny Griffin, Stitt, Roland Kirk, Phil Woods, Lateef ... but enjoys a much more important reputation ... and unjustified in my opinion. Ok he plays well, but not better than the musicians I mentioned. In terms of composition, he did not compose anything, everyone knows that St Thomas is a Caribbean folklore already recorded by Randy Weston in 1955 under the title Fire Down There. His other compositions from the 50s ... well, Oleo, Airegin etc ... this can in no way be compared to the compositions of Trane, Bird, Monk or Shorter ... also, his playing and his sound are terribly degraded after 1966 (36 years). It seems that he was traumatized by the arrival of Ornette, Trane, Ayler ... In the 60's he tried to be more free than Ayler, more calypso / blues than Ornette, and more mystical than Trane, but he didn't. did not succeed. Then in the 70s / 80s he tried to be funky, disco ... with really ridiculous and cheesy results ... Did he want to be funkier than James Brown himself? Also, in the radio show they say that he was paid current $ 300,000 for himself to record the Nucleus album (so listen to the result !!!!), and that, for his concerts, his financial claims were unrealistic, only the big festivals could afford it. He played with the Stones but didn't want to go on tour with them because, according to Jagger himself, he wanted too much money! I mean, I'm not making anything up here. In my opinion, he should have remained what he was before, a disciple of Bird at the Tenor, and quit at the age of 40 to leave a quality job, and without trying to follow fashion.
Thank you for not insulting me because I have documented myself on Rollins and I like to have constructive discussions without being attacked on my person.
Io mi limito ad ascoltare, ad avvertire sensazioni, emozioni, c'è chi me li da,' chi no. Non mi interessa se un musicista è venale o no, non stilo classifiche questo meglio di quello, pensa che l'ho ascoltato che aveva più di 80 anni e mi emozionò tanto. cordialmente.
La persona non mi interessa...Sonny Rollins ha una voce inconfondibile ed è uno dei più grandi tenoristi (come Stan Getz e tanti altri)
You are not alone. I have come across others who share that view. They don't like his sound, they don't care for his repetitive solos, they're not impressed by the compositions.
I suppose its context. The four Miles Davis albums Cooking, Baking, Sweating and Washing Up ;-) originally had Rollins down to be the tenor. But he quit just before recording for 'health' reasons and was replaced by Coltrane.
A few years after Rollins records under his own name but does some of the tunes from those albums. I think that's curious. As if he is saying 'Hey I coulda been a contender!'
I've always thought putting out an album where you call yourself Sax Colossus is a bit, well, pretentious.
In this track Tenor Madness, which is only a riff blues, its interesting to hear the two together. Sonny IMO plays with more considered construction and coherence. Coltrane sounds (as he often does) on the edge of the wheels falling off. So arguably you could say one was a 'better' player (Rollins) OR one was more adventurous playing 'against' the prevailing expectations (Coltrane).
Listen to Eternal Triangle which puts Rollins and Stitt together. There's an excellent analysis of this by Get Your Sax Together's Jamie Anderson.
Here they are VERY evenly matched technique wise but it is Rollins who is the more adventurous.
His sound. I find this a curious aspect. Early on, in the 50s his sound was distinct enough but it became more distinctive later. It is an odd sound for tenor but its one I hear more and more players now using. I'm not quite sure how its done or if there is a physiological reason for it. I have found it to be an aquired taste. I quite like it now.
There is a lot of study done on Rollins' solos and they are generally accepted to be examples of strong overall thematic construction and development. This somewhat implies that others just play randomly. I'm not entirely convinced by that argument. Its true though that he does use more of that approach than others generally do. Now whether thats a strength or otherwise I don't know.
If you like it, its a strength, if you think its an excuse for repetition, you'd think not.
I think Rollins always had a concept of being a maverick. Someone who bucks the trend, rather than follows it. That is is very much an artistic approach rather than the jobbing musician. Much like Davis. Image and a certain aloofness, projecting strength and integrity. Davis made it work. I think Rollins was trying to do the same, why not? And that explains the Rolling Stones story. To think we may have had The Rollins Stones!
A pity it never happened, particularly as Watts was such a jazz fan, but I can understand Rollins' position. Really, they could have paid whatever he asked for, but it might be that he wanted to price himself out of the job because he didn't want to do it. He saw himself as an artist, I'm not sure he viewed Jagger the same way.
That Sonny has had such a long playing career and been at the cutting edge playing HIS way for so long is amazing. He is IMO entitled to be referred to as a Sax Colossus!
Those here who are better informed, more experienced and with better ears are absolutely invited to refute anything I've written. The history of Jazz is complex, and its often only understood through the prism of the recorded works. But for every track recorded, there is a story, a background, of circumstance and relationships between those involved (egos) , and. of course money.
@@lyntedrockley7295 Thank you for your reply. Don't forget that Rollins was also a composition thief. For example St Thomas. It is a Caribbean folklore known as ''Fire down here''. As for Tenor Madness, the real name is 'rue chaptal', a composition by Francy Boland, a Belgian pianist. As for his Buddhism prechi precha, that has no interest for me, I don't care and I judge him on his music.
Ah thankyou for your reply.
St Thomas is an example of cultural transference. It is infact originally The Lincolnshire Poacher. An old english folk tune. It was taken to the Carribean presumably on the slave ships but possibly even earlier by the pirate ships (appropriate given its title). It gets transmuted into a Carribean Folk tune, (thankyou for the title, I didn't konw it was called 'Fire Down Here') and then Rollins recalls it from his childhood being sung by his mother and renames it after the Island. I had assumed St Thomas was what his mother called it, but your info would mean that might not be true.
Interestingly the Ted Heath Band, a British Big Band of the 1950s had a big(ish) hit with 'The Lincolnshire Poacher' done presumably as a 'ripost' to St Thomas.
I also didn't know of the 'Tenor Madness' origin from Francy Boland. I'll check that out.
One thing that always struck me that I've heard no one else mention is that the Alfie theme is merely a reworking of the intro to 'Singing In The Rain!'