In an exclusive interview with People magazine in March 2018, legendary tenor saxophonist Sonny Rollins discussed the reissue of his 1957 album, Way Out West; the establishment of a Sonny Rollins archive; and the importance of diligent and continuous practice to his development as a player and composer:

Sonny-Rollins-with-Mohawk-by-Lee-Tanner“A lot of the people I grew up with in my early teens, we all wanted to be jazz musicians — but we didn’t have the talent. It was a gift. Music is a gift. Anybody can learn music, but it’s only a few people who have a gift that are really talented enough — especially these days — to make it in this highly competitive world. So it’s definitely a gift. However, you have to apply yourself, you have to work at it. I had a gift, but I didn’t explore it enough, I feel, and that’s why I was always the guy who practiced incessantly. I was always trying to catch up and learn things.”

— Source: People

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Open Culture

The American jazz musician and composer talks to David Marchese at Vulture
Sonny Rollins
Sonny Rollins

What sorts of feelings did putting your archives in order stir up? That material is the stuff of your life, and now you’re giving it away.
I could say it put me in a reflective mood, but most of the archiving itself was done by someone else, and the truth is that my life has been in a reflective mode for some years now. Maybe my whole life has been in that mode. It’s gotten more that way since I became unable to blow by horn. That was hard. I’ve thought a lot about what I’ve done musically, what I could’ve done, what I might’ve done.

What’s the nature of those thoughts?
What’s the meaning of life? Why am I here? What am I supposed to be doing?

Have you come up with any answers?
You know, I listen to the radio a lot and there’s a guy that comes on and says, “Have a good day today and enjoy.” I hate the word “enjoy.” Because to me life is not about enjoyment or, in other words, getting for yourself. That’s not why we’re here. The reason of life, to me, is all about giving. Giving is what gives me happiness. Making somebody else happy is the greatest thing you can do. (more…)

Sonny Rollins during the recording of A Night at the Village Vanguard. Francis Wolff:Blue Note Records

Yesterday marked the 60th anniversary of Sonny Rollins‘s legendary recording,
A Night at the Village Vanguard. Writing for NPR, Nate Chinen reached out to several experts and practitioners to discuss the album’s ongoing influence:

Jon Irabagon, who calls A Night at the Village Vanguard ‘a formative album for me,’ gave it a fresh listen this week, and was struck again by its genius. ‘Rollins had one foot completely in the tradition, he was mining these standards, and he was also part of the aliveness — the surging life-quality — of jazz,’ he said. ‘Then it’s the harmonic freedom, the melodic integrity and just the playfulness that he had. It’s not beholden to some kind of codified language. There are so many surprises and twists and turns. You can hear the entire history of jazz on that record, up to that point.’

It would be misleading to imply that Rollins’ heroic performance on A Night at the Village Vanguard is primarily of interest to other saxophonists. ‘It’s a textbook example of what modern jazz improvisation should be,’ the pianist Fred Hersch pronounced in an email. ‘Sonny plays with intelligence, warmth, humor and an expressive technique that seems to know no bounds.’ Hersch, who literally wore out his first copy of the album, advises all his piano students to study it closely, ‘as a means to understanding the subtlety of phrasing and deep connection to rhythm that Sonny, Wilbur [Ware] and Elvin [Jones] display.'”

— Nate Chinen, NPR