Product Description The mid-fifties was an astonishing period for this saxophone genius. And for all his great work in this era, this daring album and "Saxophone Colossus" remain his crowning achievements. With just bass (Wilbur Ware) and drums (Elvin Jones) in support, Rollins creates tenor saxophone improvisations of increible beauty and inexhaustible creativity. Twenty years after the initial album, a double album containing the rest of the releasable material from this magic night at the Village Vanguard was issued. With the recent re-discovery of the original tapes, the performance has been assembled as it happened and beautifully remastered by original engineer with superb depth of sound. Several of Sonny's stage announcements have been added to master for the first time. .com In 1957, Sonny Rollins was at an early creative peak, already a masterful improviser who could range from hard-bitten bop blues to broad or sly humor, all conveyed with a swaggering virtuosity and bullying warmth. One of the first jazz musicians to develop the extended solo, Rollins would turn tunes inside out rhythmically, often building a solo around complex variations on a tune's melody. The Vanguard recordings come from a period when Rollins found maximum freedom in a trio pared down to the essentials of tenor, bass, and drums, and the multiple takes here testify to his fluent invention. Disc 1 of this set is highlighted by two takes of "A Night in Tunisia," the first recorded at a matinee with bassist Donald Bailey and drummer Pete LaRoca, the second and faster version at the evening performance with regular accompanists bassist Wilbur Ware and drummer Elvin Jones. The second CD continues the evening performance with Ware and Jones. It's a uniquely gifted threesome, with each musician seeming to invent new ways to swing, without a note or a musical opportunity wasted. Both Rollins and Ware reveal their relationship to Thelonious Monk in the ability to create complex, arresting music out of shifts in rhythmic inflections. It's especially apparent in the second version of "Softly as in a Morning Sunrise." In this context, Jones has an opportunity to show just how melodic a drummer he was. The two versions of "Get Happy" demonstrate Rollins's ability to make complex and witty music out of the most banal material, while "What Is This Thing Called Love" is a tour de force of sustained group invention. --Stuart Broomer
S**N
RVG remaster is the best sounding version
For anyone that has the original or 1987 vol. 1, vol. 2 CDs: dump them and re-buy this Rudy Van Gelder remaster. It sounds SO much better. Based on aural evidence the 1987 CDs and I believe the original LPs suffered from the addition of post-production chamber or plate reverb that has quite a long decay. It sounds really bad and is overused especially on Sonny. The Van Gelder remaster does not have this reverb and sounds just like it would have in the club to me. Primarily dry but you can hear the room as well. Also, to me the balance of the tenor to the rhythm section has been improved on this remaster as well. The original CD’s had the rhythm section further back in the mix. Almost like they were an afterthought. I found that to be very distracting and it kept me from enjoying these recordings until this remaster.This recording is by no means high fidelity due to the limitations and choices at the time of the recording. There is a significant amount of tape and/or inline compression and distortion most noticeable on the cymbals but this is just something you will get past as you enjoy this trio.So be warned, this recording will never be an audiophile experience. But that isn’t why you would buy this anyway.See other reviews for in depth thoughts on the music but this is Sonny in 1957--free flowing, stream of conscious, inspired melodicism over standards. Wilber Ware is also a joy to hear on this. Tenor trio jazz over changes really doesn’t get much more inspired or hardcore than this. Astounding and recommended. Get this remaster!
D**G
Rollins' first ever date at the Village Vanguard
There have been many famous recordings done at this famous club in NYC, but this is the most memorable alongside the Bill Evans Trio in '61. But this was the first and perhaps the best of Sonny Rollins' live trio recordings. One could say "Way Out West" as another fine example of Sonny's freer approach to improvisation but there's no contest when he is caught live without the inhibiting environment of a studio. I've worn out both Volumes One & Two so this 2 CD set is a "blessing in disguise" (to use one of Sonny's future titles). Elvin has never sounded more rawer and spontaneous and Ware is just about the most perfect bassist Sonny has ever had not discounting Bob Cranshaw or Ray Brown. If you want an introduction to his music, you can start here!! Either "Sonnymoon for Two" or "Ole Devil Moon" can set you off.
R**D
Am so glad to have a CD so I can listen to ...
I had the record but wore it out. Am so glad to have a CD so I can listen to this great group again at recorded at the Vanguard, greatest jazz club in the world
J**E
A must have
Sax, bass, drums and they mix it up wonderfully. This is the first recording at the Village Vanguard. If you love jazz this is a must have.
C**G
Get yours today. A taste of Jazz
Outstanding from 1957. Songs don't exist like that.
S**P
Five Stars
Well done.
L**R
Five Stars
Vanguard stuff
B**R
Five Stars
Sunny Sonny, a clear message from the heart.
M**S
The Village Vanguard sets by The Sonny Rollins Trio, ...
The Village Vanguard sets by The Sonny Rollins Trio, recorded before an enthusiastic audience are essential "Must Haves" for anyone who takes jazz seriously.
D**S
Five Stars
excellent product and seller !!!!!
P**A
excellent
everything I hoped for,over the moon with all the tracks on it recommend it to any Sonny Rollins fan great
T**R
great CD.
Came on time, great CD.
A**N
Five Stars
fuine
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