Coming this Saturday, April 20, for Record Store Day, is a new four-LP set by Sonny Rollins—Freedom Weaver: The 1959 European Tour Recordings. Released by Resonance Records—the nonprofit label co-led by George Klabin and Zev Feldman—the album features for the first time all of the known recordings by the Sonny Rollins Trio performed while on tour in Europe between March 2 and 11 in 1959. The CD and digital formats will follow on April 25. Having listened to all three formats, the sound is sterling.
The trio featured Sonny on tenor saxophone, Henry Grimes on bass and three different drummers—Pete La Roca, Joe Harris and Kenny Clarke— depending on the venue. The cities covered on the album are Stockholm; Zurich, Switzerland; Laren, Holland; Frankfurt, West Germany; Aix-en-Provence, France. [Photo above, from left, of Pete La Roca, Henry Grimes and Sonny Rollins Jean-Pierre Leloir]
Seven of the Stockholm tracks and the five from Zurich were issued in 2016 on The Sonny Rollins Trio & Horace Silver Quintet: Zurich 1959, part of the Swiss Radio Days Jazz Series (go here). To Zev's point in the liners, the new issue is the first time the material is being issued with restored sound and the blessing of Sonny, who is benefiting from the album financially. Kudos to Zev for looking after the interests of legacy musicians featured in releases.
Regarding the earlier 2016 Swiss release, Sonny said at the time, "While this recording is indeed legal under Swiss law, to release a broadcast such as this after the 50-year copyright period has expired, without any payment or even notification to the artists involved, is unfair. Although this may be a 'legal' release according to Swiss law, it remains, in my view, illegal and completely unauthorized. I never entered into any agreement at any time with these people or with anyone for a recording to be made of our performance or for it to be released." [Photo above of Sonny Rollins by Chuck Stewart, courtesy of Resonance Records]
What makes the new Freedom Weaver album and its 26 tracks so indispensable is that they were the last recordings by Sonny before his famed Williamsburg Bridge sabbatical, which lasted from spring 1959 to late 1961. So by definition, you are listening to music that frustrated Sonny and motivated him to create a new approach on his instrument. By frustrated, I mean tired of the same approach and not satisfying or ground-breaking, which is what he sought to do with his extended break.
Today, we are more forgiving than he was, since all of Sonny Rollins' recordings have value for his tone, passion and their sheer beauty as well as improvisational architecture. His playing here is fluid, fleet and warm, and the risks he takes are novel and stunning.
The reason I love this album is for his exasperation and attempts to go further, both of which bleed through the music. At this point in time, tenor saxophonist John Coltrane had overtaken Sonny in terms of prowess, prestige and an innovative new sound. Coltrane's work with the Miles Davis Sextet had been monumental and his Giant Steps album would be a game-changer. Davis' Kind of Blue was being recorded in March and April of 1959 and Coltrane's Giant Steps was being recorded in May. Both would become among the greatest post-war jazz albums recorded, and Sonny surely knew about both projects, at least through the grapevine. [Photo above of Sonny Rollins by Bob Parent]
In places on the new set, one can hear Sonny's angst and, to some extent, his boredom and uncertainty about his next move. Despite the artistic struggle and self-doubt, his playing is extraordinary, even if he was displeased that it wasn't on the cutting edge of jazz's next frontier.
Among the high points are There Will Never Be Another You (listen how inventively he deals with the standard), Paul's Pal (all versions) and Lady Bird, which features the Sonny at his remarkable best delivering a remarkable workout, especially on the second half. Especially interesting is his intro on I Want to Be Happy #1, which employs the same attack he'd use to open The Bridge three years later.
In March 1959, Sonny may no longer have been the most innovative and commanding tenor saxophonist on the scene, but as this set proves, he was still a powerhouse romantic looking to find a way to be himself and break new ground. Several months later, the solution would be to stop performing and recording, and spend hours on the Williamsburg Bridge practicing. Whether all that bridge work paid off, ultimately, is a topic for another post down the road.
JazzWax tracks: You'll find the four-LP set of Sonny Rollins' Freedom Weaver: The 1959 European Tour Recordings (Resonance) at your local record store. To find a vinyl retailer near you, go here.
The three-CD set and digital download can be found here.
The album also will be streamed on major platforms.
JazzWax clips: Here's There Will Never Be Another You...
There Will Never Be Another You
And here's the 19-minute Lady Bird...
