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Sonny Rollins is arguably the most influential tenor saxophonist that jazz has produced. He began his musical career at the tender age of eleven, and within five short years he was playing with the legendary Thelonius Monk. In the late forties (before his twenty-first birthday), Rollins was in full swing, recording with jazz luminaries such as Charlie Parker, Bud Powell, Max Roach, Art Blakey, Miles Davis, and Fats Navarro. He was hailed as the best jazz tenor saxophonist alive during the years 1955 to 1959, when he was credited with pioneering the use of 3/4-time in bop music.Today, forty years later, Rollins's onstage appearances are eagerly anticipated events, where his compelling sound reaches a whole new generation of listeners. Renowned jazz writer Eric Nisenson has penned a long-overdue look at one of jazz music's brightest and most enduring stars.
- Sales Rank: #685023 in eBooks
- Published on: 2015-08-04
- Released on: 2015-08-04
- Format: Kindle eBook
From Publishers Weekly
Less a biography than an effusive discography, this study of the legendary saxophonist Sonny Rollins lacks the innovative playfulness that characterizes the jazz tenor's own work. Nisenson ('Round About Midnight) sets out to document "the development of a great jazzman's sensibility and musical conception, and how his life has meshed with his art." To that end, he traces Rollins's career from his stints as Miles Davis's sideman in the early 1950s and his ascension to accomplished bandleader by the '60s through his less influential past three decades. The lengthy quotations from Rollins himself, who riffs on such topics as his escape from heroin and his desire to remain humble in the face of success, show him to be a strikingly introspective figure, impeccably self-aware and critical of himself as a human being. It's unfortunate that Nisenson's treatment of Rollins's relationships to social and political issues is cut short in two important instances: Rollins's 1960 anti-racism album, The Freedom Suite, and his frustration with the bottom-line-obsessed world of major record labels, which led him to retreat from the jazz scene for six years starting in 1966. Instead, the author concentrates on Rollins's theory of improvisation as a highly intuitive expression of emotion and self; his reactions to the musician's various albums are accordingly subjective, evocative and full of metaphors. Yet the extravagant praise Nisenson heaps on Rollins grows monotonous, muddling together the different albums. Overall, there's very little hard information or insight to be gleaned from this cloying book. (Mar.)
Copyright 2000 Reed Business Information, Inc.
From Library Journal
Rollins was born in Harlem in 1930 when the Harlem Renaissance was at its peak. His family was caught up in the atmosphere that produced not only great culture but also a social consciousness that led to the Back to Africa movement. By the time Rollins graduated from high school, he was a professional musician playing with the likes of Thelonious Monk and fronting his own trio. Heroin addiction made him into a pariah and landed him in jail for armed robbery, but through music he overcame it. Nisenson (Blue: The Murder of Jazz) clearly knows his territory. Extensive interviews with Rollins provide insight and detail into his evolution as a musician of passion, integrity, and invention. While Nisenson wears his admiration for Rollins on his sleeve, he has written a compelling history of one of the unsung jazz giants; recommended for all jazz collections.
-Dan Bogey, Clearfield Cty. P.L. Federation, Curwensville, PA
Copyright 2000 Reed Business Information, Inc.
From Booklist
One of the architects of modern jazz, tenor saxophonist Rollins absorbed the harmonic and rhythmic advances of be-bop and merged them with melodic exploration, as Ornette Coleman and other '50s "new thing" practitioners were doing, while bringing the music back in line with popular taste, as the parallel development of hard bop did. And he didn't stop there, essaying some "out" playing in the '60s and fusion in the '70s. With the help of an orchestral composer, he even fulfilled a commission for saxophone and orchestra. Moreover, due to turn 70 later this year, he is still capable of spinning out half-hour and longer solos filled with invention, which is why Nisenson wanted to write him up. Nisenson enjoyed Rollins' full participation, and the book consists of almost as much Rollins as Nisenson. It does not include candid personal details, even about Rollins' early drug addiction. It does include the kind of commentary that makes you itch to hear Sonny Rollins play. Ray Olson
Most helpful customer reviews
11 of 11 people found the following review helpful.
I was very disappointed with this book.
By Jason E. Mingledorff
Eric Nisenson claims that this is not a definitive biography of Sonny Rollins. I would have to agree. Not only does this book tell us hardly anything about Sonny's personal life (his inpirations, his heartbreaks, his relationships with other jazz musicians), it has neither a discography nor an index. It's list of sources is only a page and a half, half of which seem to be previous books by Nisenson. After an inspired first chapter, Nisenson just seems to list through Sonny's albums and notable achievements, using generous quotes from Sonny describing events that were just described by the author himself. There were some good discriptions of some of the albums and some of Sonny's better solos, but most of it reads like a textbook. I would suggest that someone wait for either Sonny's autobiography (for which he's obviously saved a lot of info) or a "definitive" biography.
4 of 4 people found the following review helpful.
A Sorry Fanzie ramble...Indeed.
By Boils
Eric Nisenson is a fanzie not a writer. His attempt at this Rollins book fails on every level. At the end we know no more of Rollins than we do at the beginning. When Nisenson begins rambling he goes off cliffs. Was there no editor to put this book back on track. Nisenson will always use ten words when one would do nicely. I picked this book up with great expectations. The only thing 'great' that happened was my disappointment. I wondered while reading the book of the author had ever even heard Rollins play. Something was that amiss.
TThe endless unsubstanntiated praise of Rollins is someghing to behold. 'Fanzie' doesn't do justice to the egoless hero worshipping by the author. Maybe he has no ego. I'd wait for a definitive book on Rollins rather than buy this. Really I'd nominate it as the worst jazz book of the decade.
0 of 0 people found the following review helpful.
From a Saxophonist's Perspective...
By Charles Pratt III
this book gives you a peek into the way Sonny Rollins thinks as a person and musician. This is not your typical biography and I don't believe the Author intended it to be. If you really want to know if this book is for you, take a moment and read the Foreword written by Sonny Rollins himself!(Check out the "Look Inside" link.) Rollins even felt uncomfortable writing the Foreword in a book about his own life and mentions just that.
More importantly, Sonny Rollins wrote that:
"Eric has done an excellent job of depicting my life and my evolution as a musician, and the book has many insights (although I do not necessarily agree with all of his opinions. I have a special appreciation for his understanding of how cultural and social issues have shaped my life, both as a man and an artist."
I'm a Saxophonist who thoroughly enjoyed this book! The Author has opinions just like the rest of us, but this does not detract from gaining insight into the creative process and decisions Sonny Rollins made during critical junctures in his life. I guess your reaction to this book depends a lot on your point of view. From a budding musician's perspective, I believe this book hits the mark.
But to understand the intent of this book, don't listen to me, the Sonny Rollins quote above says it all!
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