By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
By Steve Weinstein
Last August, at Lincoln Center Plaza, 70-year-old Sonny Rollins gave one of the most exhilarating, inspired, go-for-broke, don't-look-back performances I have ever seen. OK, I've probably written something like that before, but having missed maybe three of his New York engagements over the last 35 years, I rate this one very highin the top five, anyway. For one thing, he played two hours and 15 minutes without a break. You can tell right off when Rollins is feeling cramped because he can't get out of the heads; on this night, he could scarcely wait to eject himself into improvisational flight. His infallible time reflected a wary, boplike sagacity, a witting agility; as the rhythm section hammered down the beats like pickets in a fence, he alternately stepped back to launch parabolas and charged forward hugging the groundCalypso Joe roaring and guffawing. For another thing, he introduced more new music than usual: tributes to Harold Vick and Charles Mingus and two forgotten trade-winds ballads so unlikely that no one else would have dared. As hundreds stood waving like wheat stalks, a woman asked no one in particular, "Did you ever think you would be grooving to 'Sweet Leilani?' " Not like this.
All of that material is on Rollins's new album, a candidate for the year's best, This Is What I Do(Milestone). In 1972, when he resumed recording after a six-year sabbatical during which he was constantly asked when he would make his next album, he issued Sonny Rollins' Next Album. The next 15 years were a slough of searching but spotty records. Cries went out for The Sonny Rollins Album You've Been Waiting For, a fantasy construct released in excerpts, as demonstrated by the 1996 anthology, Silver City.
Long before the anthology, however, it was evident that the new Sonny was making peace with the old Sonny in what now seems like a CD quintet, bookended by a full-bore rampage, G-Man(1987), and a pinnacle of poetic paraphrase, +3(1995), and enclosing three increasingly powerful steps toward rapprochement: Dancing in the Dark, Falling in Love With Jazz, and Old Flames. Still, a viral cynicism had come to infect old-time Rollins fans, the complaints often focusing on the bow-taut electric basslines of Bob Cranshaw. This Is What I Domay serve, not only for those who came of age with the '60s RCAs and Impulses, but even for those who refused to let Rollins age beyond 1958, as, well, the Sonny Rollins album they've been waiting for. Cranshaw is still electric, but superior engineering mixes him down to where the bass ought to be, making it easier to appreciate what an iron man he is and why, for nearly three decades, he has played a role with Rollins not unlike that of Freddie Greene with Count Basie.
Rollins's 1998 Global Warming alienated many by putting a pop veneer on some of his most avant-garde playing in years"Clear Cut Boogie" harks back to the days of East Broadway Rundown. It is marked by an ironic tentativeness, a stretching out of notes past the border of conventional pitch, a dry sound, and a discursive attack. Even on "Mother Nature's Blues," he puts himself through woolly locutions to get to the more comfortable blues-bop payoffs. On his ballad "Echo-Side Blue," he appears yoked to the theme's wryly nostalgic yearning, as though stuck in an uneasy mode between past and present. Most themes are short, as though he can't wait to play, yet his solos feel truncated; he plays five superb choruses on "Global Warming," but leaves off just as he's kicking into overdrive.
This Is What I Dois Global Warming's reverse counterpart. Rollins's sound is warmer and fuller and focused in the midrange, less grainy than on +3. He makes much use of grit and grain and shouts and cries, but always for accent, to italicize specific notes in a phrase. His virtuoso aim in this regard is stunning, even for Rollinsfor example, his second solo on "Salvador," where inflections underscore the rhythmic muscle of his overall conception. The result is a return to supernal authority, touched with nostalgia validated by on-the-beat assurance and producing a melodic joy and humor thatthough removed from the euphoric Rollins who whips ballads until the cream runs over and stomps calypsos until you feel foolish for sittingcomes closer to the Rollins concert experience than most of his studio albums.
Take "Salvador," as richly songful a calypso as he has recordednot just the theme, but the whole performance, the almost indivisible logic between head and solo, underscored by buoyantly thematic phrases that parse his improvisation. The 40-bar theme (the bridge is 16) has built-in hesitations that spur Rollins's turnbacks through three solo choruses rife with lush embellishments, charged riffs, and a climactic final bridge. Stephen Scott, Rollins's most distinctive regular pianist since Stanley Cowell if not Ray Bryant, follows with three of his own, which also massage the theme and build to a heated bridge; his second chorus, fixed on a single chord, includes a turnback that recycles the piccolo obbligato from "High Society"a conscious nod, I presume, to New Orleans second-line ecstasy, which Rollins sustains in his follow-up.