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

From Nelson George (Smithsonian.com)
John Coltrane. Photograph: Chuck Stewart
John Coltrane. Photograph: Chuck Stewart

On December 9, 1964, saxophonist John Coltrane led a quartet that featured pianist McCoy Tyner, drummer Elvin Jones and bassist Jimmy Garrison into Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey, where countless jazz recording sessions were held in the 1950s and ’60s. For photographer Chuck Stewart, Van Gelder’s was a short drive from his home in Teaneck.

That day nearly 50 years ago the band recorded a Coltrane composition titled A Love Supreme, a profound expression of his spiritual awakening divided into four movements—“Acknowledgement,” “Resolution,” “Pursuance,” “Psalm.” For its soaring ambition, flawless execution and raw power, it was hailed as a groundbreaking piece of music when it was released in February 1965, and it has endured as a seminal part of the jazz canon. The work and its composer will be highlighted anew this April during Jazz Appreciation Month, an annual event launched in 2001 by the National Museum of American History, whose collection includes Coltrane’s original manuscript for A Love Supreme. (more…)