siLLy puPPy To clarify the confusion of this album that seems to have different info with every source i encounter, it was recorded on 22 June 1956 and released in April 1957 and the excellent Rudy Van Gelder remaster finding its way onto the market in 2005. SAXOPHONE COLOSSUS is without a doubt the most revered album released by SONNY ROLLINS with the leading track “St. Thomas” being one of the most celebrated jazz standards of not only the 50s hard bop scene but of all jazz history. Although the track was a traditional calypso number, SONNY literally jazzed it up to make a classic of the ages.

This album finds many a jazz veteran lending a hand and an ear to the process. SONNY ROLLINS, of course, is the star here with his masterful melodic tenor saxophone, but we also get Tommy Flanagan on piano, Doug Watkins on bass and the inimitable Max Roach handling drum duties. By definition, hard bop incorporates everything from R&B and gospel music to the blues and beyond and this album is a great example of these mixings and commingling of styles.

The saxophone and piano are obvious contenders here but the beauty of this album is how well every musician on board weaves his magic around the cohesive whole. While jazz ballads can be a point of contention in my world, i must admit that “You Don’t Know What Love Is” comes across as a tender yet intricately beautiful piece of work that straddles the pop world’s sensibilities while keeping the jazzy touches as the dominant feature.

This is music well before my time but it has a sense of timelessness to it. I was particularly surprised to hear “Moritat” which is a jazz interpretation of a song composed by Kurt Weil originally titled “Mack The Knife” or in German “Die Moritat von Mackie Messer” which was in The Threepenny Opera which originated at the Theater am Schiffbauerdamm in Berlin in 1928. While the original had lyrics and was a product of its time SONNY deftly tackles the vocal parts on his sizzling sax and retains the spirit of the original without sacrificing the hard bop sensibilities of the time of release.

“Blue” which is a ROLLINS written original is another satisfying track. It delivers all the beauty of a blues standard with all the jazz touches as the icing on the cake. Somehow these four guys keep the whole thing sounding like a blues song even when they break into clear jazz territory of syncopated drum solos and the like. Very impressive.

This was a grower indeed. While feeling underwhelmed upon first encounter i have really grown to like SAXOPHONE COLOSSUS a lot and understand the hype behind its majesty. While not fluent in ROLLINS’ massive discography, i as an abecedarian of his music, can gleefully advocate recommending this album as the perfect introduction into his hard bop and beyond universe. While it’s true that in the 50s jazz appears a little incestuous with every musician at one time playing on someone else’s albums just like marriages in a TV soap opera, on this particular occasion the stars aligned for all involved and a veritable masterpiece was born.