Heaven Walters
MUS 110
Drew Hays
10 April 15
Album Analysis: Saxophone Colossus
According to the Webster Dictionary, Colossus is defined as something that is gigantic or immense, which is also accurate when describing Sonny Rollins’ contributions to the jazz world. Sonny Rollins, himself, was knowns as the “Saxophone Colossus” back in 1956, and has been compared to Coleman Hawkins with his strong, intense notes combined with lyrical freedom and genius. Saxophone Colossus, recorded in June of 1956, and released in April of 1957, was one of Rollins’ most widely known albums recorded under the label of Prestige Records. Saxophone Colossus consists of five tunes, three of which are originally Rollins’, each with its own distinctive characteristics …show more content…
The melodic ideas in this tune are far from unrelated. The tune begins with the bass, played by Doug Watkins, unaccompanied, providing a walking bass line to set the timing and rhythm. Joined by Max Roach, on the drums, the two create a basic rhythm for the other two instruments to join. The instruments unusually gradually join in the tune, as if in a sequence: first the bass, second the drums, third the saxophone, and fourth the piano. Sonny Rollins, the genius of thematic improvisation, begins the melody consisting of a tri-tone sequence that is repeated in between short rests. During Rollins’ tenor saxophone solo (starting at: 45) the same sequences from the original melody are repeated in different pitches and become a theme throughout the solo and the entire song, as well. If you listen closely enough you can hear the melodic paraphrases of some variance in each of his solos in “Blue 7”. At 1:08, the piano joins in with Rollins and the solo continues. Just as in his solos in other songs, Rollins still has the same raspy, strong style that is paradoxically smooth and eloquent. A common thing I have noticed in his solos are the deep, accented notes that seem out of place that come at times you would not expect them, yet each idea indubitably logically flows into the next. The Piano solo (2:57) carries on the rhythmic simplicity of the melody and adds its own flavor and improvisation and adds a playful tone. Rollins’ comes back into the scene (4:00) and is almost interrupted by Max Roach on the drums. Max’s solo including organized, repetitive sequences and rolls on the snare drum is obviously not something he did on a whim, but is also meaningful in regard to structure and cohesiveness. It is structured with some guidelines, yet he also adds his own flavor as well. Rollins takes over again
MUS 110
Drew Hays
10 April 15
Album Analysis: Saxophone Colossus
According to the Webster Dictionary, Colossus is defined as something that is gigantic or immense, which is also accurate when describing Sonny Rollins’ contributions to the jazz world. Sonny Rollins, himself, was knowns as the “Saxophone Colossus” back in 1956, and has been compared to Coleman Hawkins with his strong, intense notes combined with lyrical freedom and genius. Saxophone Colossus, recorded in June of 1956, and released in April of 1957, was one of Rollins’ most widely known albums recorded under the label of Prestige Records. Saxophone Colossus consists of five tunes, three of which are originally Rollins’, each with its own distinctive characteristics …show more content…
The melodic ideas in this tune are far from unrelated. The tune begins with the bass, played by Doug Watkins, unaccompanied, providing a walking bass line to set the timing and rhythm. Joined by Max Roach, on the drums, the two create a basic rhythm for the other two instruments to join. The instruments unusually gradually join in the tune, as if in a sequence: first the bass, second the drums, third the saxophone, and fourth the piano. Sonny Rollins, the genius of thematic improvisation, begins the melody consisting of a tri-tone sequence that is repeated in between short rests. During Rollins’ tenor saxophone solo (starting at: 45) the same sequences from the original melody are repeated in different pitches and become a theme throughout the solo and the entire song, as well. If you listen closely enough you can hear the melodic paraphrases of some variance in each of his solos in “Blue 7”. At 1:08, the piano joins in with Rollins and the solo continues. Just as in his solos in other songs, Rollins still has the same raspy, strong style that is paradoxically smooth and eloquent. A common thing I have noticed in his solos are the deep, accented notes that seem out of place that come at times you would not expect them, yet each idea indubitably logically flows into the next. The Piano solo (2:57) carries on the rhythmic simplicity of the melody and adds its own flavor and improvisation and adds a playful tone. Rollins’ comes back into the scene (4:00) and is almost interrupted by Max Roach on the drums. Max’s solo including organized, repetitive sequences and rolls on the snare drum is obviously not something he did on a whim, but is also meaningful in regard to structure and cohesiveness. It is structured with some guidelines, yet he also adds his own flavor as well. Rollins takes over again