Monday, September 9, 2013

Serena Williams Wins Her Fifth U.S. Open Title and 17th Grand Slam Tournament in Her Illustrious Career



SERENA WILLIAMS 2013 U.S. OPEN CHAMPION



Serena as Superwoman. Surprisingly graceful given the windy conditions. (Matthew Stockman/Getty Images)


The celebratory hop with a look to her box. (Al Bello/Getty Images)

Serena jumps for joy on match point. (Joe Scarnici/Getty Images)




Williams beats Azarenka for 5th US Open, 17th Slam

HOWARD FENDRICH (AP Tennis Writer) 14 minutes ago AP - Sports

NEW YORK (AP) -- Fussing with her skirt and flubbing her shots, Serena Williams was troubled in the U.S. Open final by the swirling air and the strong play of Victoria Azarenka.

After one miss, Williams declared, ''I can't play in this wind.'' After blowing a big lead and dropping the second set, Williams chucked her racket toward the sideline, and it bounced back onto the court.

In the end, Williams pulled herself together, as she usually does when it matters the most. Facing her only test of the past two weeks, the No. 1-seeded Williams overcame No. 2 Azarenka 7-5, 6-7 (6), 6-1 on Sunday for a fifth championship at Flushing Meadows and second in a row.

Williams, who turns 32 on Sept. 26, raised her Grand Slam singles title count to 17, the sixth-most in history and one shy of Martina Navratilova and Chris Evert. Williams collected a $3.6 million prize, including a $1 million bonus for producing the best results during the North American summer hard-court circuit leading up to the U.S. Open.

Helped by nine aces, one at 126 mph, Williams improved to 67-4 with a career-high nine titles in 2013. Since a first-round exit at the 2012 French Open, she is 98-5 with 14 titles, winning four of the past six Grand Slam tournaments.

''Vika's such a great opponent, such a great fighter,'' Williams said, ''and that's why she's been able to win multiple Grand Slams. That's why it was never over until match point.''

Yes, this one did not come easily, even though it appeared to be nearly over when Williams went ahead by two breaks at 4-1 in the second set. Williams served for the match at 5-4 and 6-5 - only to have the gutsy Azarenka break each time.

Still, Williams regrouped and regained control.

''In the third set, Serena really found a way to calm down and restart from zero and quickly erase what happened,'' said Williams' coach, Patrick Mouratoglou.

This was a rematch of last year's final, also won by Williams in three sets, and two-time Australian Open champion Azarenka provided another challenge with her big swings off both wings.

''It is a tough loss, but to be in the final and play against the best player - who deserves to win today - it's incredible,'' said Azarenka, who is from Belarus. ''I gave it all today. We showed our hearts. We fought hard.''

Four times, Azarenka was only two points from taking the opening set. At one such moment, with Williams serving at deuce after a double-fault, she was called for a foot fault, erasing what would have been a 121 mph ace. There was another foot-fault call in the second set, too. They brought back memories of the American's loss to Kim Clijsters in the 2009 semifinals, when Williams was docked a point, and later fined, for a tirade against a line judge over a foot-fault call.

There was no such outburst directed at officials this time, although there was that racket toss. After the call in the match's 10th game, Williams simply put a hand to her face, composed herself, and won the point with a down-the-line backhand she celebrated with a fist pump, some foot stomping and a yell of ''Come on!''

Williams wound up holding there with a 104 mph ace, part of what seemed to be a match-altering stretch. She won five consecutive games and 16 of 18 points to take the first set and go up a break in the second.

''You could see she clicked,'' Mouratoglou said. ''She realized she was not aggressive enough. She was letting Vika dictate too much, and all of a sudden, things completely changed.''

Well, at least for a while.

Williams' lead grew to 4-1 in the second set, before Azarenka made things competitive again, which shouldn't surprise anyone. Azarenka is responsible for two of Williams' four losses this season. And entering Sunday, Azarenka was 31-1 on hard courts this season, and showed why for portions of the final, playing far better than she had in her preceding six matches in New York.

But she simply could not keep pace with Williams, who eventually adjusted to her opponent and the wind that topped 15 mph. Williams put aside her issues to finish with a 36-17 edge in winners.

At the outset, though, the breeze clearly bothered her as much as Azarenka did.

Williams caught service tosses. She grabbed at her skirt to try to stop it from flapping around. And, most importantly, she was thrown off by balls that danced oddly. Six of the first 16 points ended with unforced errors by Williams, which allowed Azarenka to go ahead 2-1.

Looking hesitant at times, Williams did not show the same dominance she had while dropping only 16 games during six straight-set victories through the semifinals. And after Williams did go ahead, Azarenka made things interesting with a hard-hitting comeback.

The first time Williams served for the championship, at 5-4, Azarenka hit a cross-court forehand winner for break point, then forced a backhand long. Williams came right back to break for a 6-5 edge. Given a second chance to serve it out, she double-faulted to get broken for the fourth time.

A year ago, they played the first three-set women's final in New York since 1995. And they went the distance again, a total of 2 hours, 45 minutes, because Azarenka was superior in the tiebreaker.

When it came time to close the deal yet again, Williams shined. She has six of the eight winners in the third set, forced Azarenka into 15 miscues, and soon enough, was hopping up and down after finishing with a service winner. Williams kept pumping her fist afterward, even while sipping from a water bottle.

Azarenka faltered late, the way she did when losing the last four games in the 2012 final. She hit two of her seven double-faults while getting broken to 3-1 in the third set, then could only watch as Williams hit a pair of aces in the next game.

On Sunday, with former President Bill Clinton among the announced crowd of 23,584 in Arthur Ashe Stadium, and Williams' older sister Venus in a front-row seat, the fans were mostly cheering for the American.

''I definitely felt the love,'' Williams said, ''so thank you all so much for the support.''

She equaled Steffi Graf with five U.S. Open titles, one behind Evert's record of six in the Open era, which began in 1968. Williams never had won two consecutive U.S. Opens, but now she has, adding to the trophies she earned in New York in 1999 - at age 17 - then 2002 and 2008.

Those go alongside five from Wimbledon, five from the Australian Open, and two from the French Open, which she won this year.

Williams also became the first woman to surpass $9 million in prize money in a single season, while topping $50 million for her career.



Two Grand Slam titles, nine titles overall, recaptured No. 1 in February for the first time since 2010, and all at 31 years old. Take a bow. (Elsa/Getty Images)


Serena Williams wins 17th Grand Slam title Sunday at the U.S. Open
by Shane Bacon
Busted Racquet


Back in 1999, Serena Williams was a teenager at the U.S. Open with a ton of talent and absolutely no idea about legacy, history or what might happen 15 years from that finals defeat of Martina Hingis.

In 2013, Williams might have done enough to be considered the greatest champion in women's tennis history.

Serena took out No. 2 Victoria Azarenka 7-5, 6-7 (6), 6-1 on Sunday to win her 17th Grand Slam title, an accomplishment made all the more impressive by the sheer longevity of her career as a Grand Slam champion and the fact that she will be 32-years-old by the time this month ends.

The win marks the fourth time in her career that Williams was able to defend a Grand Slam title, and the sixth time that Williams was able to win multiple Grand Slams in the same season after her French Open (edited by me) win earlier this year.

It wasn't an easy march for Serena, who looked like she would win this one in straight sets, serving for the match twice. Azarenka, who has been on the wrong side of this U.S. Open final for the second straight season, battled back with a ton of heart in that second set, with the two breaks and coming back in the tiebreaker to take the championship to three sets, but it was there Serena decided to show just how complete her game has become.

Williams' fastest serve on Sunday? Just 126 miles per hour, three miles per hour faster than Rafael Nadal notched in his semifinal win over Richard Gasquet.

Her third set stats when it looked like she was on the ropes and the momentum was in Azarenka's favor? An 85 percent first serve winning percentage, and facing just three break points, was able to convert two of them.

Williams now goes to the 2014 season with her eyes on a few different numbers. This win marks her 17th Grand Slam, putting her just one big win away from tying the 18 that both Chris Evert and Martina Navratilova were able to win, and it looks like she won't need much of a tweak to her game to at least match that number next season.

For now, Serena ends this season on an incredibly high note, winning a tournament that looked a breeze until that second set on Sunday and proving everyone that age is simply not a factor in Serena's world.




Conquering the Wind, Williams Enters Rarefied Air With a 17th Title

By CHRISTOPHER CLAREY
September 8, 2013 
New York Times

As it turned out, after 2 hours 45 minutes of raw emotion and territorial tennis, Serena Williams really could play in the wind, just as she has played and prevailed in so many conditions and circumstances through the years.

With her 32nd birthday approaching, Williams is in increasingly rare company as the major titles continue to pile up. Although she certainly wobbled in Sunday’s United States Open final — the longest recorded women’s Open final — and although Victoria Azarenka applied plenty of intense, next-generation pressure, there was ultimately no depriving Williams of another major celebration on a court where she has experienced plenty of disaster to go with her triumphs through the years.

This 7-5, 6-7 (6), 6-1 victory gave her a fifth United States Open singles title and a 17th Grand Slam singles title. It also underscored her place atop the women’s game.

She has had her most focused, consistently successful season, and yet Azarenka had defeated Williams in two of their last three matches. Each arrived in New York with one Grand Slam singles title in 2013.

This would be the tiebreaker, and although Williams cracked in the second set — losing a 4-1 lead and twice failing to serve out the match — she, not the ferociously ambitious Azarenka, is now the undisputed player of the year.

“I felt almost disappointed with my year, to be honest,” Williams said. “I felt like, yeah, I won the French Open, but I wasn’t happy with my performances in the other two Slams and not even making it to the quarterfinals of one. So I definitely feel a lot better with at least a second Grand Slam under my belt this year.”

There were other rewards, including prize money of $3.6 million, and a $1 million bonus for winning the United States Open Series, which put her at more than $50 million in career earnings.

“I think my dad got me into tennis because of the money, but me being naïve and silly, I never thought about it,” she said of her father, Richard Williams, long her primary coach along with her mother, Oracene Price. “I just thought I want to win. I wanted to do what Venus does.”

She now holds a 13-3 edge in her series with Azarenka, the closest she has to a rival in the women’s game at the moment.

“It’s good for Serena that Vika is there at this stage; good for both of them,” said Patrick Mouratoglou, Williams’s coach. “I think the best way to progress is to be pushed by someone.”

Azarenka has been pushing with increased success and resourcefulness — mixing in drop shots and forays to the net Sunday — but the bottom line is that Williams has won all eight of their Grand Slam matches.

When this one ended with a missed return, Williams jumped five times near the baseline and continued to exult after embracing Azarenka at the net. As Williams shouted and grinned and thrust her powerful arms into the air, Azarenka sat in her chair courtside and cried into a towel.

“She’s a champion,” Azarenka said later. “And she knows how to repeat that. She knows what it takes to get there. I know that feeling, too, so when two people who want it so bad meet, it’s like a clash.”

Azarenka, a marvelous counterpuncher who spent several years living and training in the United States, also rallied to force a third set in last year’s Open final before Williams won in a classic match, 6-2, 2-6, 7-5.

This final did not hit as many high notes, but it still produced a memorable soundtrack: shrieks, growls, grunts and audible self-criticism, as well as appreciative roars from the crowd, which was treated to the rare sight of a young woman fully prepared to match Williams’s intensity.

“What is really interesting is that Vika is not at all intimidated by her opponent,” said Sam Sumyk, Azarenka’s coach. “And that is good because we know Serena is very, very strong but also likes to use intimidation to gain a bit of the edge over her opponents, and it’s good to see that doesn’t work with Vika.”

But there was another obstacle involved Sunday: the gusting, swirling wind that was even more of a factor than usual in Arthur Ashe Stadium.

“The wind was unbelievable today,” Williams said.

Both players were repeatedly forced to adjust their ground strokes at the last moment, catch their service tosses and attempt with varying degrees of success to remain calm.

“It wasn’t pleasant; it wasn’t nice,” Azarenka said. “Skirts were always, you know, lifting up. You had to pull it down all the time.”

For much of the early going, Azarenka seemed to treat the wind as an ally while Williams treated it as an enemy.

“I can’t play in this wind,” Williams said to her team in the players box in the first set after a game full of off-balance ground strokes.

Her first-serve percentage was below 50 percent for much of that opening set, but she stabilized when serving at 4-5, shrugging off double faults and a foot fault (she has quite a history with those in Ashe) as well as a flurry of high-quality two-handed backhands from Azarenka.

Williams would end up reeling off five games in a row and taking command of the match, only to surrender it by failing to serve out the match twice in that second set. She faltered at 5-4 and again at 6-5, double-faulting into the net to allow Azarenka the chance to play a tiebreaker, which she proceeded to win.

With the match now even, Azarenka could not sustain the quality or, more surprisingly, the urgency. Williams broke her in the fourth and sixth games, and this time she did not crumble when she served for the title at 5-1.

She is now just one Grand Slam singles title behind Chris Evert and Martina Navratilova, who each have 18 and rank fourth on the career list.

“I think she has a real sense of history right now, and she is defining her place in history,” Evert said on ESPN after the match.

Williams confessed that she had been thinking about No. 17 when she was two points from the match in the second set.

“That probably got me a little nervous, and I probably shouldn’t have been thinking about that,” she said.

Evert said that she believed Williams was fully capable of reaching 22 major singles titles, which would tie her with Steffi Graf for second behind Margaret Court’s record of 24.

But what mattered most Sunday night was this victory. A less resilient champion might have continued to fall apart after collapsing in the second set. Instead, Williams exhaled and willed herself into a more peaceful and less conflicted place: one where neither Azarenka nor the wind, that cursed wind, could knock her down.

Ben Rothenberg contributed reporting.

Michelle V. Agins/The New York Times
U.S. Open Women’s Final: Serena Williams won her 5th U.S. Open title, and her 17th Grand Slam title overall, one behind Chris Evert and Martina Navratilova for fourth on the career list.

Saturday, September 7, 2013

HAPPY 83RD BIRTHDAY TO THE SAXOPHONE COLOSSUS SONNY ROLLINS!


More examples of why Sonny Rollins is considered to be one of the greatest and most significant improvisors in the history of 20th/21st century music. 

http://www.youtube.com/watch?v=gQV8yReZQY8
SONNY ROLLINS TRIO;

Sonny Rollins--Tenor Saxophone
Niels-Henning Orsted Petersen--Bass
Alan Dawson--Drums

LIVE IN MUNICH GERMANY IN 1965:

Order of musical compositions played in this legendary One hour 24 minute set by the Sonny Rollins Trio:


00:01 - There will never be another you 11:15 - St Thomas 23:45 - Oleo 36:39 - Sonny Moon for Two 44:56 - Darn that Dream 48:44 - Three little words 54:34 - On green dolphin street 1:06:00 - St Thomas (Again with piano) 1:16:27 - Four



SELECTIONS FROM THE IMMORTAL MUSIC OF SONNY ROLLINS (1955-PRESENT):


"Oleo" by Sonny Rollins

Live performance in Copenhagen, Denmark in 1965

Sonny Rollins--Tenor Saxophone
Niels-Henning Orsted Petersen--Bass
Alan Dawson--Drums


Sonny Rollins Trio at the Village Vanguard 
1957

"Softly As in a Morning Sunrise" 

Sonny Rollins--Tenor Saxophone
Wilbur Ware--Bass
Elvin Jones--Drums


Sonny Rollins Trio 
Live 1963

Sonny Rollins--Tenor Saxophone
Niels-Henning Orsted Petersen--Bass
Alan Dawson--Drums


Sonny Rollins - YouTube

Sonny Rollins - Tenor Madness - YouTube
► 2:07

Sonny Rollins - St. Thomas - YouTube
► 10:28

Sonny Rollins Alfie's Theme 1973 - YouTube
► 7:30

Sonny Rollins - It Don't Mean a Thing - YouTube
► 4:26
Sonny ROLLINS à Marseille 25 juillet 2012 - YouTube
► 12:43

Way Out West - Sonny Rollins [FULL ALBUM] [HQ] - YouTube
► 43:08

Sonny Rollins - St.Thomas (Original) 1956 - YouTube
► 6:49

1.
Sonny Rollins Interview - YouTube
► 13:54
2.
Sonny Rollins - All The Things You Are - YouTube
► 6:46
3.
Sonny Rollins 5tet - Don't Stop The Carnival [1985] - YouTube
► 10:08
Kursaal, Bern (Switzerland) May 10, 1985 ("10. Internationales Jazzfestival Bern" ) Sonny ...
4.
Sonny Rollins, Saxophonist: Strode Rode - 4/30/09 - YouTube
► 4:31
http://www.sonnyrollins.com/ presents warm up, sound check and performance by the saxophone ...
5.
Sonny Rollins Quartet - St. Thomas - YouTube
► 6:53
Sonny Rollins Quartet - St. Thomas (1956) Personnel: Sonny Rollins (tenor sax), Tommy ...
6.
SONNY ROLLINS.St. Thomas - YouTube
► 6:49
Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass ...
7.
Extended Interview: Sonny Rollins - YouTube
► 5:59
F
8.
Sonny Rollins 6tet - Long Ago and Far Away [1992] - YouTube
► 23:15
Philharmonie im Gasteig - München (Germany) May 6, 1992 Sonny Rollins - Tenor ...
9.
Sonny Rollins - Global Warming (Finland, 1998) - YouTube
► 7:54
www.youtube.com/watch?v=hdjHUtohEEcNov 19, 2006 - 8 min - Uploaded by migmarfin
Sonny Rollins with his band playing a cheerful calypso tune "Global Warming" at the April ...
10.
Sonny Rollins-Where are you - YouTube
► 5:14
www.youtube.com/watch?v=r6kR9-OQ1-oMar 18, 2010 - 5 min The Bridge - Sonny Rollins-ts, Jim Hall-g, Bob Cranshaw-b, Ben Riley-d.



SONNY ROLLINS AND HIS TENOR SAXOPHONE


THE ALWAYS ELEGANT MR. ROLLINS CELEBRATING HIS 78TH BIRTHDAY IN 2008

SONNY ROLLINS
(b. September 7, 1930)

TODAY SEPTEMBER 7, 2013 IS THE 83rd BIRTHDAY OF ONE OF THE MOST IMPORTANT AND BELOVED MUSICIANS OF THE PAST CENTURY, MR. THEODORE WALTER "SONNY" ROLLINS

Theodore Walter "Sonny " Rollins

2011 Kennedy Center Honoree


HAPPY BIRTHDAY SONNY!




FROM THE PANOPTICON REVIEW ARCHIVES


(Originally posted January 1, 2012):

Sunday, January 1, 2012

BEHOLD: SONNY ROLLINS, THE SAXOPHONE COLOSSUS!


Sonny Rollins--The Official Website of the Saxophone Colossus

All,

In the incredibly rich pantheon of African American art and culture there have been many legendary musical artists from the Jazz tradition who through their prodigious art have dramatically changed the very course of cultural history in the modern world. These astonishing and truly revolutionary figures: Louis Armstrong, Duke Ellington, Fletcher Henderson, Jelly Roll Morton, Art Tatum, Count Basie, Ella Fitzgerald, Lester Young, Billie Holiday, Coleman Hawkins, Charlie Parker, Dizzy Gillispie. Thelonious Monk, Miles Davis, John Coltrane, Max Roach, Clifford Brown, Bud Powell, Charles Mingus, Eric Dolphy, Sarah Vaugyhn, Betty Carter, Wayne Shorter, Ornette Coleman, Joe Henderson, Horace Silver, Roy Haynes, Kenny Clarke, Herbie Nichols, Albert Ayler, Cecil Taylor, Bobby Hutcherson, Herbie Hancock, Jackie McLean and Archie Shepp-- just to name a few icons from a HUGE collection of truly extraordinary artists in this always fecund tradition--have played a major role in our fundamental understanding of what exactly constitutes "GREAT ART" in the world. It is this grand, profound, and tirelessly powerful legacy that the living legend and saxophone genius SONNY ROLLINS (b. September 7, 1930) embodies and epitomizes in every improvisational gesture that he expresses and is the very source of his magisterial command of his instrument. A consummate master who continues at age 81 (!) to enthrall and captivate his many listeners around the world, Theodore Walter "Sonny" Rollins was one of five Kennedy Center Honorees for 2011 on December 3, 2011 (broadcast on CBS television this past tuesday night December 27, 2011). It is in direct response to and heartfelt appreciation for this great honor that the following TRIBUTE TO THE SAXOPHONE COLOSSUS is made. Long May this GIANT continue to grace our lives with the depth, courage, insight, clarity, beauty, and creative authority that marks his tremendous artistry and his eloquent, humble and generous humanity. SONNYMOON FOR US ALL INDEED...

Kofi

"America is deeply rooted in Negro culture: its colloquialisms, its humor, its music. How ironic that the Negro, who more than any other people can claim America's culture as its own, is being persecuted and repressed, that the Negro, who has exemplified the humanities in its very existence, is being rewarded with inhumanity."
--Sonny Rollins
Liner Notes to "Freedom Suite" 1958

SONNYMOON FOR US ALL
(For the greatest saxophonist in the world: Sonny Rollins)

By Kofi Natambu

WHEN SONNY STANDS IN FOR THE MOON
WE HEAR SUCH A GLORIOUS TUNE
IT'S ALWAYS A BIT OF A SWOON
WHEN SONNY STANDS IN FOR THE MOON

THE SONG COULD BE AUGUST OR JUNE
A HELL OF A BURST OR A BOON
WAILING AT MIDNIGHT OR NOON
WHEN SONNY STANDS IN FOR THE MOON

TRANSVERSING HARMONIC LAGOONS
HE PLAYS THRU OUR FEARS AND OUR WOUNDS
HIS HORN IS A RHYTHMIC PLATOON
WHEN SONNY STANDS IN FOR THE MOON

I THINK I WILL SOON BE A LOON
OR AT LEAST A RAVING BABOON
IF I DON'T GET TO HEAR SOME MORE TUNES
FROM THAT SOARING MELODIC BALLOON

O ROLLINS BLOWS HEAT CAN BE FIERCE OR SO SWEET

YEAH SONNY SWINGS FULL LIKE THE MOON
YEAH SONNY SWINGS FULL LIKE THE MOON
YEAH SONNY SWINGS FULL LIKE THE MOON
YEAH SONNY SWINGS FULL LIKE THE MOON...

FROM THE POETRY VOLUME THE MELODY NEVER STOPS by Kofi Natambu (PAST TENTS PRESS, 1991)


Sonny Rollins was one of five individuals who received the Kennedy Center Honors of 2011.

Along with fellow recipients singer Barbara Cook, singer and songwriter Neil Diamond, cellist Yo-Yo Ma, and actress Meryl Streep, Rollins was honored at the 34th annual national celebration of the arts on December 4.

"I am deeply appreciative of this great honor," said Mr. Rollins, "In honoring me, the Kennedy Center honors jazz, America's classical music. For that, I am very grateful."

Other jazz artists who have been Kennedy Center Honorees are: Ella Fitzgerald (1978), Count Basie (1981), Benny Goodman (1982), Dizzy Gillespie (1990), Lionel Hampton (1992), Benny Carter (1996), Quincy Jones (2001), and Dave Brubeck (2009).

The Gala was broadcast on CBS-TV on December 27, 2011 at 9:00-11:00 p.m., ET/PT.


BIOGRAPHY

Theodore Walter Rollins was born on September 7, 1930 in New York City. He grew up in Harlem not far from the Savoy Ballroom, the Apollo Theatre, and the doorstep of his idol, Coleman Hawkins. After early discovery of Fats Waller and Louis Armstrong, he started out on alto saxophone, inspired by Louis Jordan. At the age of sixteen, he switched to tenor, trying to emulate Hawkins. He also fell under the spell of the musical revolution that surrounded him, Bebop.

He began to follow Charlie Parker, and soon came under the wing of Thelonious Monk, who became his musical mentor and guru. Living in Sugar Hill, his neighborhood musical peers included Jackie McLean, Kenny Drew and Art Taylor, but it was young Sonny who was first out of the pack, working and recording with Babs Gonzales, J.J. Johnson, Bud Powell and Miles Davis before he turned twenty.

"Of course, these people are there to be called on because I think I represent them in a way," Rollins said recently of his peers and mentors. "They're not here now so I feel like I'm sort of representing all of them, all of the guys. Remember, I'm one of the last guys left, as I'm constantly being told, so I feel a holy obligation sometimes to evoke these people."

In the early fifties, he established a reputation first among musicians, then the public, as the most brash and creative young tenor on the scene, through his work with Miles, Monk, and the MJQ.

Miles Davis was an early Sonny Rollins fan and in his autobiography wrote that he "began to hang out with Sonny Rollins and his Sugar Hill Harlem crowd...anyway, Sonny had a big reputation among a lot of the younger musicians in Harlem. People loved Sonny Rollins up in Harlem and everywhere else. He was a legend, almost a god to a lot of the younger musicians. Some thought he was playing the saxophone on the level of Bird. I know one thing--he was close. He was an aggressive, innovative player who always had fresh musical ideas. I loved him back then as a player and he could also write his ass off..."

With Clifford Brown and Max Roach, 1956

Sonny moved to Chicago for a few years to remove himself from the surrounding elements of negativity around the Jazz scene. He reemerged at the end of 1955 as a member of the Clifford Brown-Max Roach Quintet, with an even more authoritative presence. His trademarks became a caustic, often humorous style of melodic invention, a command of everything from the most arcane ballads to calypsos, and an overriding logic in his playing that found him hailed for models of thematic improvisation.

It was during this time that Sonny acquired a nickname,"Newk." As Miles Davis explains in his autobiography: "Sonny had just got back from playing a gig out in Chicago. He knew Bird, and Bird really liked Sonny, or "Newk" as we called him, because he looked like the Brooklyn Dodgers' pitcher Don Newcombe. One day, me and Sonny were in a cab...when the white cabdriver turned around and looked at Sonny and said, `Damn, you're Don Newcombe!'' Man, the guy was totally excited. I was amazed, because I hadn't thought about it before. We just put that cabdriver on something terrible. Sonny started talking about what kind of pitches he was going to throw Stan Musial, the great hitter for the St. Louis Cardinals, that evening..."

In 1956, Sonny began recording the first of a series of landmark recordings issued under his own name: Valse Hot introduced the practice, now common, of playing bop in 3/4 meter; St. Thomas initiated his explorations of calypso patterns; and Blue 7 was hailed by Gunther Schuller as demonstrating a new manner of "thematic improvisation," in which the soloist develops motifs extracted from his theme. Way Out West (1957), Rollins's first album using a trio of saxophone, double bass, and drums, offered a solution to his longstanding difficulties with incompatible pianists, and exemplified his witty ability to improvise on hackneyed material (Wagon Wheels, I'm an Old Cowhand). It Could Happen to You (also 1957) was the first in a long series of unaccompanied solo recordings, and The Freedom Suite (1958) foreshadowed the political stances taken in jazz in the 1960s. During the years 1956 to 1958 Rollins was widely regarded as the most talented and innovative tenor saxophonist in jazz.


Rollins's first examples of the unaccompanied solo playing that would become a specialty also appeared in this period; yet the perpetually dissatisfied saxophonist questioned the acclaim his music was attracting, and between 1959 and late `61 withdrew from public performance.

Sonny remembers that he took his leave of absence from the scene because "I was getting very famous at the time and I felt I needed to brush up on various aspects of my craft. I felt I was getting too much, too soon, so I said, wait a minute, I'm going to do it my way. I wasn't going to let people push me out there, so I could fall down. I wanted to get myself together, on my own. I used to practice on the Bridge, the Williamsburg Bridge because I was living on the Lower East Side at the time."

When he returned to action in early `62, his first recording was appropriately titled The Bridge. By the mid 60's, his live sets became grand, marathon stream-of-consciousness solos where he would call forth melodies from his encyclopedic knowledge of popular songs, including startling segues and sometimes barely visiting one theme before surging into dazzling variations upon the next. Rollins was brilliant, yet restless. The period between 1962 and `66 saw him returning to action and striking productive relationships with Jim Hall, Don Cherry, Paul Bley, and his idol Hawkins, yet he grew dissatisfied with the music business once again and started yet another sabbatical in `66. "I was getting into eastern religions," he remembers. "I've always been my own man. I've always done, tried to do, what I wanted to do for myself. So these are things I wanted to do. I wanted to go on the Bridge. I wanted to get into religion. But also, the Jazz music business is always bad. It's never good. So that led me to stop playing in public for a while, again. During the second sabbatical, I worked in Japan a little bit, and went to India after that and spent a lot of time in a monastery. I resurfaced in the early 70s, and made my first record in `72. I took some time off to get myself together and I think it's a good thing for anybody to do."

Lucille and Sonny

In 1972, with the encouragement and support of his wife Lucille, who had become his business manager, Rollins returned to performing and recording, signing with Milestone and releasing Next Album. (Working at first with Orrin Keepnews, Sonny was by the early ’80s producing his own Milestone sessions with Lucille.) His lengthy association with the Berkeley-based label produced two dozen albums in various settings – from his working groups to all-star ensembles (Tommy Flanagan, Jack DeJohnette, Stanley Clarke, Tony Williams); from a solo recital to tour recordings with the Milestone Jazzstars (Ron Carter, McCoy Tyner); in the studio and on the concert stage (Montreux, San Francisco, New York, Boston). Sonny was also the subject of a mid-’80s documentary by Robert Mugge entitled Saxophone Colossus; part of its soundtrack is available as G-Man.

He won his first performance Grammy for This Is What I Do (2000), and his second for 2004’s Without a Song (The 9/11 Concert), in the Best Jazz Instrumental Solo category (for “Why Was I Born”). In addition, Sonny received a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences in 2004.

In June 2006 Rollins was inducted into the Academy of Achievement – and gave a solo performance – at the International Achievement Summit in Los Angeles. The event was hosted by George Lucas and Steven Spielberg and attended by world leaders as well as distinguished figures in the arts and sciences.

Rollins was awarded the Austrian Cross of Honor for Science and Art, First Class, in November 2009. The award is one of Austria’s highest honors, given to leading international figures for distinguished achievements. The only other American artists who have received this recognition are Frank Sinatra and Jessye Norman.

In 2010 on the eve of his 80th birthday, Sonny Rollins is one of 229 leaders in the sciences, social sciences, humanities, arts, business, and public affairs who have been elected members of the American Academy of Arts and Sciences. A center for independent policy research, the Academy is among the nation’s oldest and most prestigious honorary societies and celebrates the 230th anniversary of its founding this year.

In August 2010, Rollins was named the Edward MacDowell Medalist, the first jazz composer to be so honored. The Medal has been awarded annually since 1960 to an individual who has made an outstanding contribution to his or her field.

Sonny Rollins Receiving National Medal of Arts Award from President Obama at White House in 2010
Photo: Ruth David

Yet another major award was bestowed on Rollins on March 2, 2011, when he received the Medal of Arts from President Barack Obama in a White House ceremony. Rollins accepted the award, the nation’s highest honor for artistic excellence, “on behalf of the gods of our music.”

Since 2006, Rollins has been releasing his music on his own label, Doxy Records (with distribution from the Decca Label Group). The first Doxy album was Sonny, Please, Rollins’s first studio recording since This Is What I Do. That was followed by the acclaimed Road Shows, vol. 1 (2008), the first in a planned series of recordings from Rollins’s audio archives.

Mr. Rollins released Road Shows, vol. 2 in the fall of 2011. In addition to material recorded in Sapporo and Tokyo, Japan during an October 2010 tour, the recording contains several tracks from Sonny’s September 2010 80th birthday concert in New York—including the historic and electrifying encounter with Ornette Coleman.

SONNY ROLLINS ONE OF 10 RECIPIENTS OF 2010 NATIONAL MEDAL OF ARTS

Saxophonist Sonny Rollins was one of ten honorees who received the 2010 National Medal of Arts for outstanding achievements and support of the arts. The presentation was made on March 2 by President Barack Obama in an East Room ceremony at the White House.

“I’m very happy that jazz, the greatest American music, is being recognized through this honor, and I’m grateful to accept this award on behalf of the gods of our music,” Mr. Rollins said of the award.

The National Medal of Arts recipients represent the many vibrant and diverse art forms thriving in America,” said NEA Chairman Rocco Landesman. “Sonny Rollins’ melodic sensibilities, playing style, and solos have delighted audiences and influenced generations of musicians for over fifty years and I join the President and the country in saluting him.”
Posted by Kofi Natambu at 2:47 PM

Labels: 2011 Kennedy Center Honors, African American Art, Composition, Improvisation, Jazz history, Sonny Rollins, Tenor Saxophone