| | Sonny Rollins East Broadway Run Down CD Sonny Rollins Discography of CDs
(2 Customer Reviews)
For Sonny Rollins, the 1960s were a period of consolidation and revolution as he refined his own concepts and reacted to the flurry of events around him. In taking stock of John Coltrane, Ornette Coleman, Albert Ayler and Archie Shepp, Sonny formulated a series of fascinating responses, from the elegant, mainstream approach of THE BRIDGE to his free-form safaris into the underbrush of open-ended group improvisation with Don Cherry (ON THE OUTSIDE).
EAST BROADWAY RUNDOWN is the apotheosis of this period, one of Sonny Rollins most powerful recordings. Jimmy Garrison and Elvin Jones (late of Coltrane's band) fire each of these performances with an elemental energy. Meanwhile, the relaxed and extremely confident Sonny responds with some of his most charged improvisations, abstract and exploratory, yet lyrical and supremely bluesy.
The title tune begins with an angular, fragmented blues vamp. As Garrison and Jones lock into a multi-layered 4/4 groove, Rollins sculpts in space, lagging way behind the beat with heraldic recitatives and coy snippets of the theme, teasing Jones into one rhythmic climax after another in the manner of Monk and Lester Young. Freddie Hubbard responds to Rollins' thematic parries with fierce, bluesy counterpunches, and following free solo passages from Garrison and Jones, they proceed with free textural exchanges over a hypnotic rhythm vamp. After this epic romp, Sonny (sans Freddie) jumps headfirst into the ancestral blues figures of "Blessing In Disguise" with garrulous, preaching energy. "We Kiss In A Shadow" (from "The King And I") is among his most touching ballads, moving from a tender Afro-Cuban head to a slow grinding shuffle, as Sonny deconstructs the melody with rhapsodic elan.
Digitally remastered by Erick Labson.
Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey on May 9, 1966. Includes liner notes by Nat Hentoff.
Personnel: Sonny Rollins (tenor saxophone); Freddie Hubbard (trumpet); Jimmy Garrison (bass); Elvin Jones (drums).
Down Beat - 4.5 Stars - Very Good JazzTimes (5/96, p.74) - "...a masterpiece. Drummer Elvin Jones and bassist Jimmy Garrison supplied the rhythmic floor and harmonic flexibility that allowed Rollins to roam at will. He added trumpeter Freddie Hubbard for the title track and produced a masterpiece....EAST BROADWAY RUNDOWN is an extraordinary item in his discography." Record Collector (magazine) (p.100) - 5 stars out of 5 -- "The four jazz heavyweights circle each other like matadors in a bullfight, creating tensions that, when they lock together, hit creative highs that are well worth the journey." East Broadway Run Down Music Sonny Rollins East Broadway Run Down Songs East Broadway Run Down Music East Broadway Run Down Music Review Average Rating: (4 out of 5 stars)   Almost Free Sonny Rollins obviously knew that the trend in 1966 was toward jazz that was cut loose from the bop idiom of improvising on a succession of chords -- "free" jazz, was the new take. But Sonny doesn't seem comfortable in the new idiom yet, although he has plenty, plenty chops. Freddie Hubbard, on the other hand, seems quite at home here on the title tune, a twenty-minute exploration where both he and the fine rhythm section of Jimmy Garrison (bass) and Elvin Jones (drums) dig in and explore the possibilities, while Sonny sort of rambles around, searching. The other two tunes, a Rollins original and a Rodgers and Hammerstein standard, provide considerable contrast. Here Sonny shines, especially on the standard. Sonny likes to know where he is, it seems. Well, so do most listeners. Submitted by jonjackson (Missoula, MT, USA)  Was This Review Helpful? Yes No
Sonny at his best Utilizing two members from the classic Coltrane quartet (with the addition of Freddie Hubbard on the first track), Rollins avoids being anyone but Rollins. The title track is an exercise in post-bop thematicism that at times feels as though it could fall apart at any moment but never does. Blessing in Disguise reveals an interaction between Rollins and Jones that Sonny usually disdained from his players (re: numerous interviews where he states he can't worry about what the band does). The last tune is a typical reworking of a broadway classic that only Sonny would attempt to reconfigure.
All in all, this is Rollins at his best with a highly interactive rhythm section and a great statement of his abilities before taking his second retirement. Submitted by jabondo (Philadelphia, PA)  Was This Review Helpful? Yes No
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