Sonnymoon For Two Sonny Rollins Blues
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- Опубліковано 22 гру 2024
- Live at The York, Highland Park, Los Angeles, CA 01/29/17
More music by this group is available here: tr.ee/2C4GPswK9s
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Scott Gilman - Saxophone
Gary Fukushima - Keyboard
Trevor Ware - Bass
Abe Lagrimas - Drums
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Sonnymoon For Two
Composed by Sonny Rollins
Handheld camera - Alex Chu
Edited - Scott Gilman
A Night at the Village Vanguard is a live album by tenor saxophonist Sonny Rollins released on Blue Note Records in 1958. It was recorded at the Village Vanguard in New York City in November 1957 from three sets, two in the evening and one in the afternoon with sidemen. For the afternoon set, Rollins played with Donald Bailey on bass and Pete LaRoca on drums; in the evening they were replaced respectively by Wilbur Ware and Elvin Jones.
Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries. Since the 1920s jazz age, jazz has become recognized as a major form of musical expression. It emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African American and European American musical parentage with a performance orientation.[1] Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music.[2] Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience and styles to the art form as well. Intellectuals around the world have hailed jazz as "one of America's original art forms".[3]
As jazz spread around the world, it drew on different national, regional, and local musical cultures, which gave rise to many distinctive styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, bluesy, improvisational style and Gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.
The 1950s saw the emergence of free jazz, which explored playing without regular meter, beat and formal structures, and in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues, gospel, and blues, especially in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 2000s, such as Latin and Afro-Cuban jazz.
If you like what you hear, please ♦SUBSCRIBE♦! More tunes on the way, if you have any favorite jazz tunes let us know in the comments and we'll try to get to them, thanks! 🎷
Dude, that's one of the baddest (i.e., goodest) tenor sounds I've ever heard - love it.
This is good but boring ni the same time
I like this. Nice jam guys
Thanks for listening!
One pf m’y favorite Sax player. Scott played an amazing rendition of ‘Black Nile’ on Jazz Channel LA
Cool great clip Abe Lagrimas a favorite keeping real jazz alive thank you
You Guys really got this tune In The Pocket! Nice!!
Thank you Pete!
Nice !
every time ive switched from selmer to conn 10m ive missed the inside core sound from the selmer in the 10m and when gone back to selmer missed that free blowing outside sound of the 10m , caught between those two tenors ,
Me too! Mostly playing a Mk VI now, also a Trevor James tenor for travel
Back to the 10M for quite a while now
Fucking burning 🔥
Really great playing.great ideas ..rhythmic playing a bit too staccato for my taste ....but that's just me ...just saying 🙂🙂🙂🙂🙂😄
Thanks for listening!
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.