A Night At The Village Vanguard (The Complete Masters - Mono Remastered by Rudy Van Gelder) Sonny Rollins

• 1Introduction 1 (Live At The Village Vanguard/1957)00:38
• 2Old Devil Moon (Live At The Village Vanguard/1957)08:00
• 3Softly As In A Morning Sunrise (Afternoon Take / Live At The Village Vanguard/1957)07:51
• 4Striver's Row (Live At The Village Vanguard/1957)05:52
• 5Sonnymoon For Two (Live At The Village Vanguard/1957)09:06
• 6A Night In Tunisia (Afternoon Take / Live At The Village Vanguard/1957)08:02
• 7I Can't Get Started (Live At The Village Vanguard/1957)04:31
• 8A Night In Tunisia (Evening Take / Live At The Village Vanguard/1957)08:54
• 9I've Got You Under My Skin (Live At The Village Vanguard/1957)10:00
• 10Softly As In A Morning Sunrise (Evening Take / Live At The Village Vanguard/1957)06:55
• 11What Is This Thing Called Love (Live At The Village Vanguard/1957)13:50
• 12All The Things You Are (Live At The Village Vanguard/1957)06:37
• 13Introduction 2 (Live At The Village Vanguard/1957)00:22
• 14Woody 'N You (Live At The Village Vanguard/1957)08:24
• 15Four (Live At The Village Vanguard/1957)08:36
• 16I'll Remember April (Live At The Village Vanguard/1957)09:34
• 17Get Happy (Live At The Village Vanguard/1957)08:51
• 18Get Happy (Alternate Take / Live At The Village Vanguard/1957)04:38
• Total Runtime02:10:41

Info zu A Night At The Village Vanguard (The Complete Masters - Mono Remastered by Rudy Van Gelder)

Neues Remaster! Sonny Rollins war 1957 einer der ersten Saxophonisten (wenn nicht gar der erste überhaupt), die mit einem Trio ohne Harmonieinstrumente auftraten. Eines der bahnbrechenden Alben in dieser damals noch absolut außergewöhnlichen Besetzung mit Sax, Bass und Schlagzeug war “A Night At The Village Vanguard”. Erst 1976 erschien unter dem Titel “More From The Vanguard” ein Doppel-Vinyl-Album mit den restlichen Aufnahmen der drei Sets, die Rollins am Nachmittag und Abend des 3. November 1957 mit zwei unterschiedlichen Trios gespielt hatte.

"Ich war so engagiert in dem, was ich tat. Ich war ein junger Kerl. Die Musik zu spielen war das Wichtigste für mich, das war das Einzige, woran ich dachte: Spaß zu haben und die musikalische Stimmung richtig hinzubekommen... Ich weiß, dass es eine gute Platte war und ich war total glücklich, mit diesen Jungs zu spielen: Elvin Jones und, natürlich, Wilbur Ware. Alles passte einfach perfekt zusammen." (Sonny Rollins)

"Als wir mit den Vorbereitungen für dieses Album begannen, rief ich wie üblich bei Jack Arenas, dem Archivar des Capitol-Bandarchivs, an, um mich nach den analogen Masterbändern zu erkundigen. Natürlich ging ich davon aus, dass es einen Satz von Rudy Van Gelder zusammengestellter analoger 15ips-Masterbänder des gesamten Materials geben würde. So war es auch, aber dann sagte Jack etwas, das mich aufhorchen ließ. Jetzt gibt es noch diese anderen Bänder, aber sie wurden nicht zusammengesetzt, und sie sind alle mit 7,5ips aufgenommen. Ich setzte mich aufrecht hin und sah wahrscheinlich ein bisschen aus wie das verrückte Emoji. Mit dieser Ausgabe von Sonny Rollins 'A Night At The Village Vanguard: The Complete Masters' sind wir endlich in der Lage, die tatsächlichen Master zu hören, die an diesem Nachmittag und Abend aufgenommen wurden." (Joe Harley)

NACHMITTAG-SET:
Sonny Rollins, Tenorsaxophon
Donald Bailey, Bass
Pete LaRoca, Schlagzeug
ABEND-SET:
Sonny Rollins, Tenorsaxophon
Wilbur Ware, Bass
Elvin Jones, Schlagzeug

Aufgenommen am 3. November 1957 im Village Vanguard, New York City

Produziert von Joe Harley, wurde das Album von den nie zuvor verwendeten analogen Original-Masterbändern von Kevin Gray neu gemastert

Digitally remastered

Sonny Rollins
will go down in history as not only the single most enduring tenor saxophonist of the bebop and hard bop era, but also the greatest contemporary jazz saxophonist of them all. His fluid and harmonically innovative ideas, effortless manner, and easily identifiable and accessible sound have influenced generations of performers, but have also fueled the notion that mainstream jazz music can be widely enjoyed, recognized, and proliferated. Born Theodore Walter Rollins in New York City on September 7, 1930, he had an older brother who played violin. At age nine he took up piano lessons but discontinued them, took up the alto saxophone in high school, and switched to tenor after high school, doing local engagements. In 1948 he recorded with vocalist Babs Gonzales, then Bud Powell and Fats Navarro, and his first composition, "Audubon," was recorded by J.J. Johnson. Soon thereafter, Rollins made the rounds quickly with groups led by Art Blakey, Tadd Dameron, Chicago drummer Ike Day, and Miles Davis in 1951, followed by his own recordings with Kenny Drew, Kenny Dorham, and Thelonious Monk.

In 1956 Rollins made his biggest move, joining the famous ensemble of Max Roach and Clifford Brown, then formed his own legendary pianoless trio with bassist Wilbur Ware or Donald Bailey and drummer Elvin Jones or Pete La Roca in 1957, doing recorded sessions at the Village Vanguard. Awards came from Down Beat and Playboy magazines, and recordings were done mainly for the Prestige and Riverside labels, but also for Verve, Blue Note, Columbia, and Contemporary Records, all coinciding with the steadily rising star of Rollins. Pivotal albums such as Tenor Madness (with John Coltrane), Saxophone Colossus (with longstanding partner Tommy Flanagan), and Way Out West (with Ray Brown and Shelly Manne), and collaborations with the Modern Jazz Quartet, Clark Terry, and Sonny Clark firmly established Rollins as a bona fide superstar. He also acquired the nickname "Newk" for his facial resemblance to Brooklyn/Los Angeles Dodgers pitcher Don Newcombe.

But between 1959 and 1961 he sought a less superficial, more spiritual path to the rat race society of the times, visiting Japan and India, studying yoga and Zen. He left the music business until 1962, when he returned with the groundbreaking and in many ways revolutionary recording The Bridge with guitarist Jim Hall for the RCA Victor/Bluebird label. Rollins struck up a working relationship with trumpeter Don Cherry; did a handful of innovative LPs for the RCA Victor, MGM/Metro Jazz, and Impulse! labels; did one record with his hero Coleman Hawkins; and left the scene again in 1968. By 1971 he came back with a renewed sense of vigor and pride, and put out a string of successful records for the Milestone label that bridged the gap between the contemporary and fusion jazz of the time, the most memorable being his live date from the 1974 Montreux Jazz Festival, The Cutting Edge. Merging jazz with calypso, light funk, and post-bop, the career of Rollins not only was revived, but thrived from then onward. He was a member of the touring Milestone Jazz Stars in 1978 with McCoy Tyner and Ron Carter, and gained momentum as a touring headliner and festival showstopper.

His finest Milestone recordings of the second half of his career include Easy Living, Don't Stop the Carnival, G-Man, Old Flames, Plus Three, Global Warming, This Is What I Do, and Without a Song: The 9/11 Concert. He has worked extensively with road and recording bands that have included such artists as electric bass guitarist Bob Cranshaw; trombonist Clifton Anderson; pianists Tommy Flanagan and Stephen Scott; keyboardist Mark Soskin; guitarists Bobby Broom and Jerome Harris; percussionist Kimati Dinizulu; and drummers Jack DeJohnette, Perry Wilson, Steve Jordan, and Al Foster. Rollins formed his own record label, Doxy, through which he issued the CD Sonny, Please in 2006. Well into his eighth decade of life, Rollins continued to perform worldwide. As a composer, he will always be known for three memorable melodies that have become standards and well-recognized tunes in the jazz canon -- "Oleo," "Airegin," and especially "St. Thomas." (Michael G. Nastos). Source: Blue Note Records.

Dieses Album enthält kein Booklet