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Sonny Rollins: Rollins Plays for Bird

Track List

Album Remarks & Appraisals:

Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve.

Album Notes

Personnel: Sonny Rollins (tenor saxophone); Kenny Dorham (trumpet); Wade Legge (piano); George Morrow (bass); Max Roach (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on October 5, 1956. Originally released on Prestige (7095). Includes liner notes by Ira Gitler.

Digitally remastered by Kirk Felton (1986, Fantasy Studios, Berkeley, California).

Personnel: Sonny Rollins (tenor saxophone); Kenny Dorham (trumpet); Wade Legge (piano); George Morrow (bass); Max Roach (drums).

Producer: Bob Weinstock

Reissue producer: Akira Taguchi.

Recorded at the Van Gelder Studio, Hackensack, New Jersey on October 5, 1956. Originally released on Prestige (7095). Includes liner notes by Ira Gitler.

Digitally remastered by JVC using XRCD (Extended Resolution Compact Disc) technology.

Tributee: Charlie Parker .

Recorded in 1956, the year after Charlie Parker's death, ROLLINS PLAYS FOR BIRD consists primarily of a seven-song medley of tunes associated with Bird's post-1950 period. In the course of referencing this repertoire, Rollins succeeds in paying tribute to a great artist without descending into mere mockery. Bird's playing was the definition of bebop phrasing and Rollins has moments here that are clearly quotations of the altoist's rhythmic sensibilities. This is a carefully titled album, however: it's not "Rollins Plays Bird," but "Rollins Plays 'For' Bird."

Anyone who wants reassurances of authenticity need only look to the sidemen credits. Trumpeter Kenny Dorham was on many of Bird's own recordings, as was drummer Max Roach. Pianist Wade Legge and bassist George Morrow, while not Parker alumni, were working with Rollins, Roach, and Dorham in the Max Roach Quintet at the time of this session. "I've Grown Accustomed To Your Face" is a ballad feature for Rollins, while his original "Kids Know," a cooking quintet tune in 3/4 time, provides conclusive proof that the tenorist was in full possession of his own voice on this date.



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