![]() And all done with the uncompromising swinging that has characterized them all along. Gleason reviewed the album later in June for DownBeat, writing:Īlmost as if in answer to the charge that there is a lack of grace and beauty in the work of the New York hard-swingers comes this album in which Rollins displays humor, gentleness, a delicate feeling for beauty in line, and a puckish sense of humor. Reviewing in April 1957, Billboard said "Rollins' latest effort should really start musicians buzzing", as "the tenorman is one of the most vigorous, dynamic and inventive of modern jazzmen", and "everytrack is packed with surprises, tho Rollins develops each solo with great architectural logic". According to The Mojo Collection, it was released in the autumn of 1956, while an August 1957 issue of Billboard magazine listed the album among records released in the period between March 16 and July of that same year. Independent sources have differed in their reporting of the album's release date. Release and reception Professional ratings Review scores The album's title was devised by Prestige Records' in-house publicity director Robert "Bob" Altshuler. Another remastered version, this time by Van Gelder, was released on 21 March 2006. A CD version, mastered by Steve Hoffman, was released in May 1995 by DCC Compact Classics no additional performances were included. The original 22 June 1956 session was recorded by Rudy Van Gelder. Schuller praises Rollins on "Blue 7" for the use of motivic development exploring and developing melodic themes throughout his three solos, so that the piece is unified, rather than being composed of unrelated ideas. The performance is among Rollins's most acclaimed, and is the subject of an article by Gunther Schuller entitled "Sonny Rollins and the Challenge of Thematic Improvisation". Its main, rather disjunct melody was spontaneously composed. The final track, "Blue 7", is a blues piece, over eleven minutes long. (In the booklet provided with the boxed set, The Complete Prestige Recordings, Rollins makes it clear that it was the record company that insisted on his taking credit.) In any case, the piece has since become a jazz standard, with this being its most famous recorded version. The tune is traditional and had already been recorded by Randy Weston in 1955 under the title "Fire Down There". ![]() Thomas" is a calypso-inspired piece named after Saint Thomas in the Virgin Islands. There are five tracks on the album, three of which are credited to Rollins. ( July 2015) ( Learn how and when to remove this template message) Unsourced material may be challenged and removed. Please help improve this section by adding citations to reliable sources. In 2016, Saxophone Colossus was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant". Saxophone Colossus was released by Prestige Records to critical success and helped establish Rollins as a prominent jazz artist. Rollins led a quartet on the album that included pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach. It was recorded monophonically on June 22, 1956, with producer Bob Weinstock and engineer Rudy Van Gelder at the latter's studio in Hackensack, New Jersey. ![]() Perhaps Rollins's best-known album, it is often considered his breakthrough record. Saxophone Colossus is the sixth studio album by American jazz saxophonist Sonny Rollins. Van Gelder Studio, Hackensack, New Jersey
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