One of the pivotal recordings
in bringing about the widespread acceptance of Sonny Rollins as a
major figure, Saxophone Colossus inspired critics to write scholarly
analysis and fans to revel in the hard-swinging invention, humor, and
tender-strength balladry. Up to this album, while most musicians
recognized Rollins as one of the new influential forces in the jazz of
the Fifties, most critics were carping at Rollins or damning him with
faint praise. "St. Thomas," a traditional West Indian melody which Mal
Waldron remembered as "The Carnival," was recorded by many artists
after Sonny introduced it here, and it remains a jazz standard today.
The contributions of Tommy Flanagan's elegant swing, Doug Watkins'
steady lift and Max Roach's most musical accompaniment and soloing
(hear "Blue 7") make this a landmark album.
by Scott Janow, All Music Guide
Sonny Rollins recorded many
memorable sessions during 1954-1958, but Saxophone Colossus is
arguably his finest all-around set. Joined by pianist Tommy Flanagan,
bassist Doug Watkins, and drummer Max Roach, Rollins debuts and
performs the definitive version of "St. Thomas," tears into the chord
changes of "Mack the Knife" (here called "Moritat"), introduces
"Strode Rode," is lyrical on "You Don't Know What Love Is," and
constructs a solo on "Blue Seven" that practically defines his style.
Essential music that, as with all of Rollins' Prestige recordings, has
also been reissued as part of a huge "complete" box set; listeners
with a tight budget are advised to pick up this single disc and be
amazed.
by Steven Mirkin, Amazon.com
Though he lacked the
improvisational fire of John Coltrane and the restless curiosity of
Miles Davis, Sonny Rollins played
with a rich, round tone that complimented his melodic inclinations,
making him the most accessible of the post-bop musicians.
Saxophone Colossus is the most successful of the late '50s albums that
made his reputation. Rollins' playing never falters;
he's backed by the redoubtable Max Roach on drums, Tommy Flannagan on
piano, and Doug Watkins on bass. Rollins is equally at
home with the lilting Caribbean air of "St. Thomas," standards ("You
Don't Know What Love Is"), blues ("Strode Rode,"
featuring a driving Tommy Flannagan solo), and a smoldering version of
Brecht-Weill's "Moritat" (better known as "Mac the
Knife"). If you are new to jazz, there is no better place to start
than Saxophone Colossus.
by Richard Palmer, Amazon.co.uk
Recorded in 1956 Saxophone
Colossus is the one Sonny Rollins CD that absolutely everyone should
own, as important in its different way as Kind of Blue or A Love
Supreme. Fronting a stellar quartet comprising bassist Doug Watkins,
Tommy Flanagan at the piano and that matchless drummer Max Roach, the
tenorist is in supreme form across a programme as catholic as it is
enterprising. Many would say that the two finest tracks are "St
Thomas" and the remarkable, much-discussed "Blue Seven", but such
highlighting seems invidious, since Saxophone Colossus is a
masterpiece even bigger than the mighty sum of its parts.
by Steve Futterman, Barnes & Noble
SAXOPHONE COLOSSUS is the essence
of Sonny Rollins, the greatest living tenor saxophonist in jazz.
Virile and virtuosic, Rollins practically strides through these
classic performances, including his jubilant calypso theme song, "St.
Thomas," the steaming bop romp "Strode Rode," a strutting "Moritiat"
(better known as "Mack the Knife"), the sculptural "Blue Seven," and
the wrenching, deep blue ballad "You Don't Know What Love Is." When he
cut the album in 1956 at the tender age of 26, Rollins had already
played with such masters as Bud Powell, Miles Davis, Thelonious Monk,
and Clifford Brown; COLOSSUS was a stunning announcement to the world
that the wunderkind was good and ready to step out on his own. Rollins
couldn't have had a better crew onboard either: drummer, and former
boss, Max Roach, pianist Tommy Flanangan, and bassist Doug Watkins --
a perfect hard bop unit. With SAXOPHONE COLOSSUS Rollins threw down
the gauntlet; 40 years later, he's still the tenorman to beat.
Personnel: Sonny Rollins
(tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max
Roach (drums).
Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22,
1956. Originally released on Prestige (7079). Includes liner notes by
Ira Gitler.
Digitally remastered using 20-bit technology by Shigeo Miyamoto (JVC
Studios).
The year 1956 marked a turning point for Sonny Rollins. Out of the
ashes of what had been a talented but troubled young tenor
saxophonist, came a new Sonny Rollins, his purpose clarified and
strengthened, his muse razor sharp and brimming with new visions. As a
new member of the Clifford Brown/Max Roach Organization, he was
inspired as much by their spiritual consistency as their artistic
integrity. By his own admission, even as a jazz tadpole, Sonny Rollins
possessed a brawny sound and a powerful rhythmic drive...but other
elements were missing.
With SAXOPHONE COLOSSUS, Sonny Rollins created a personal vision of
the tenor saxophone and modern jazz brimming over with joy and
conviction. SAXOPHONE COLOSSUS was a breakthrough recording, praised
for its lyrical power, thematic logic, relentless swing and
spontaneous invention. Borrowing a page from his West Indian roots,
Rollins' "St. Thomas" employed elements of Caribbean folk melodies and
calypso rhythms to create an exotic, dancing tenor anthem--one of the
most identifiable, beloved themes in all of jazz--driven along by Max
Roach's melodic drumming, Tommy Flannagan's shimmering accompaniment,
and the saxophonist's swaggering melodic invention.
Rollins displayed fresh harmonic power and innovative methods of
thematic develpment throughout SAXOPHONE COLOSSUS. On the swinging
starts and stops of "Strode Rode" and the dreamy blues cycles of "Blue
7," Rollins began his solos with simple melodic motifs, and
orchestrated them into grand, elongated thematic statements--every
note made meaningful by Rollins' extraordinary sense of development
and intuitive musical architecture. In addition, his tenor timbre took
on renewed vigor and complexity on two ballads: "Moritat" (our old
friend "Mack The Knife") and his epic reading of "You Don't Know What
Love Is."
St. Thomas
