Six feet above me was the man, carrying a saxophone case, giving me a small seal of approval that ranks as one of my most treasured musical moments. Because, like the record title, he was The Saxophone Colossus<\/a>. Rollins\u2019s generosity of spirit and kindness are well known.<\/p>\n The poignancy of Rollins dying the day after Miles Davis\u2019s 100th anniversary is amplified by the realisation he was the last living musician from the famous Great Day in Harlem<\/a> photo from 1958. This picture brought together jazz\u2019s leading lights for Esquire\u2019s 1959 Golden Age of Jazz edition, including Dizzy Gillespie, Art Blakey, Thelonius Monk, Coleman Hawkins, Lester Young, Charles Mingus, Mary Lou Williams and Count Basie. <\/p>\n Without any hyperbole, Rollins\u2019 death marks the end of an era. The obituaries will be itemising his greatness: his joyful and often humorous playing and ability to create endless newness out of every moment (improvising). And the self-discipline and rigorous hours of practice, despite which he always felt he could do better \u2013 no matter how many accolades he received. <\/p>\n Consequently in 1959, despite growing success and opportunities to make money, he took a two-year sabbatical, during which he famously practised on the walkway of The Williamsburg Bridge<\/a>. He did this partly to avoid disturbing his neighbours \u2013 but also because this communion with the outdoors at all times of year fuelled a growing spirituality (he was to take second break in 1969 to study zen buddhism). <\/p>\n \n Rollins is the (jazz) musician\u2019s musician and it was always about the music and his playing within it. Like Miles Davis, he was continuously developing through his own spiritual growth and ability to musically absorb what was happening in music. But, unlike Davis, this growth was largely expressed through the classic jazz combo. <\/p>\n True he made a few electric albums with funk grooves and he occasionally played soprano saxophone. But in general, Rollins\u2019s music was about his tenor saxophone, sometimes with a trumpet player, a jazz drummer, an upright bassist (occasionally electric) and, when he chose to use one, a pianist. And, while he wrote some Jazz standards, such as Oleo (1954)<\/a>, improvisation was his primary creative process \u2013 the fleeting moment and sense of flow were his \u201ccompositional\u201d impulses.<\/p>\n It\u2019s hard to add much to what will already have been written, so with my last few words I\u2019ll suggest some listening, beyond the album Saxophone Colossus. <\/p>\n A 25-year-old Rollins is heard to great effect on Worktime (1955). He often made tongue-in-cheek song choices, and here Berlin\u2019s There\u2019s no business like show business showcases his incredible relaxation at blistering tempo (310 beats-per-minute) with all the confidence and joyous control that were making him a rising star. <\/p>\n This album dispensed with the harmonic support of a piano, using only bass and drums (Oscar Pettiford and Max Roach respectively). This afforded greater musical freedom certainly, but is also more challenging without the option of coasting on lush chords supplied by a pianist. Rollins\u2019s melodic and rhythmic invention are bursting out of the seams here, and with reference to the title he penned a carefully worded civil rights statement for the liner notes.<\/p>\n Finally East Broadway Rundown (1966) has Rollins with two-thirds of John Coltrane\u2019s classic rhythm section, (Elvin Jones, again, and Jimmy Garrison on bass). Blessing in disguise is a monster blues riff. While the title track shows him absorbing free jazz, but with dynamic contrast and plenty of groove \u2013 he even plays the mouthpiece alone for several minutes. But don\u2019t let that put you off.<\/p>\n
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\n Miles Davis\u2019s Kind of Blue is the highest selling jazz record of all time \u2013 he thought it was a failure<\/a>
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\n1. Worktime (1955)<\/h2>\n
2. 1958\u2019s Freedom Suite<\/h2>\n
3. East Broadway Rundown (1966)<\/h2>\n
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