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Saxophone Colossus is the sixth studio album by American jazz saxophonist Sonny Rollins. Perhaps Rollins's best-known album, it is often considered his breakthrough record. [ 4 ] 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 .
The Allmusic review by Scott Yanow states: "The enjoyable outing may not be essential, but it is a strong effort." [2] Author and musician Peter Niklas Wilson called it "one of Rollins's most brilliant sessions. In the opinion of many of the saxophone player's fans it is the equal of the epochal Saxophone Colossus recordings." [3]
The AllMusic review by Michael G. Nastos calls the album "a recording that should stand proudly alongside Saxophone Colossus as some of the best work of Sonny Rollins in his early years, it's also a testament to the validity, vibrancy, and depth of modern jazz in the post-World War era.
The concert was originally filmed for Saxophone Colossus, Robert Mugge's documentary on Rollins. [2] Some tenor saxophone parts were recorded in studio on April 9, 1987, and overdubbed onto the track "Kim", [3] and G-Man was released in November of that year by Milestone Records. [4]
The Allmusic review by Lindsay Planer states: "A new phase in Sonny Rollins' career began in 1957. He started what was at the time an almost blasphemous trend of recording for a number of different labels.
"St. Thomas" became popular when it was released on Rollins's 1956 album Saxophone Colossus, though it had been recorded by Randy Weston in 1955 under the title "Fire Down There", on his Get Happy album. On the digital encyclopedia program, Encarta, a clip of "St. Thomas" could be played as an example of Jazz music in the 'Jazz' entry [3]
James Mangold misses the era when movies weren’t embarrassed to make audiences feel something. The director of the Bob Dylan musical biopic “A Complete Unknown” and comic book adaptation ...
[3] The Penguin Guide to Jazz describes it as being "almost as good as Colossus, with the ferocious abstractions of 'B Swift' and 'B Quick' contrasting with the methodical, almost surgical destruction of 'Sonny Boy'." [4]