1. Global Warming (Rollins)
2. Someday I’ll Find You (Coward)
3. Salvador (Rollins)
4. Don’t Stop the Carnival (Rollins)
5. A Nightingale Sang in Berkeley Square (Sherwin/Strachey/Maschwitz)
6. Tenor Madness (Rollins) .

Personnel:
Sonny Rollins - Sax Tenor
Clifton Anderson - Trombone
Bobby Broom - Guitar
Bob Cranshaw - Bas
Steve Jordan - Drums
Kimati Dinizulu - Percussion .

Sonny Rollins
Jazz à Juan,
Juan-Les-Pins, Francia
22 de Julio de 2005

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A1 	Movin' Out	4:29
A2 	Swingin' For Bumsy	5:47
A3 	Silk N' Satin	4:00
B1 	Solid	6:25
B2 	More Than You Know	10:49

Bass – Percy Heath (tracks: A1 to B1), Tommy Potter (tracks: B2)
Drums – Art Blakey (tracks: A1 to B1), Arthur Taylor (tracks: B2)
Piano – Elmo Hope (tracks: A1 to B1), Thelonious Monk (tracks: B2)
Tenor Saxophone – Sonny Rollins
Trumpet – Kenny Dorham (tracks: A1 to B1)

#A1-B1: Recorded August 18, 1954
#B2: Recorded October 25, 1954

The collaborations between Sonny Rollins and any given trumpet player were few and far between, but they did include such notables as Miles Davis, Don Cherry, Clifford Brown, and in this case, his first tandem partnership with Kenny Dorham. At the time, both of them were also members of the Max Roach Quintet, and thus quite familiar with each other's strengths. Add to the mix drummer Art Blakey, bassist Percy Heath, and emerging modern jazz pianist Elmo Hope, and this shapes up to be one of the more potent combos of 1954. It's pretty straightforward music featuring Rollins, with little involvement from Dorham except solos. The fast title track, based on the changes of "Donna Lee" or "Indiana," has the briefest melody line before Rollins leaps into eighth-note madness, while the very fleet "Swingin' for Bumsy" does the same, repeating the slimmest phrase three times. An all-time classic, "Solid" does have the two horns together, playing an established, bluesy unison thought, a beauty in economy, while the obligatory ballad "Silk 'n' Satin" is all Rollins wrapped in a fabric of sheen and softness. There's one track that features an entirely different band for some reason, as "More Than You Know" encompasses a full 11 minutes of this program, which in total is just shy of 32 minutes. This unmistakable melody is enveloped by Rollins and Thelonious Monk, with bassist Tommy Potter and drummer Art Taylor in support for a tune that is unlike the others in style and texture. Moving Out contains some fine music, especially for the time period. ---Michael G. Nastos, allmusic.com

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1. Tune Up 5:49
2. Asiatic Raes 6:01
3. Wonderful! Wonderful! 6:05
4. The Surrey With the Fringe on Top 6:35
5. Blues for Philly Joe 6:49
6. Namely You 3:19				play

Musicians :
Sonny Rollins - Tenor Saxophone
Wynton Kelly - Piano
Doug Watkins - Double Bass
Philly Joe Jones – Drums

In his early prime and well-respected, tenor saxophonist Sonny Rollins cut this fine hard bop date as one of several late-'50s sessions for Blue Note. The record is part classic date, part blowing session, sporting a mix of engaging head statements and lengthy solos. Rollins takes to the spacious quartet setting, stretching out on taut versions of Miles Davis' '50s concert opener "Tune Up" and Kenny Dorham's "Asiatic Raes." Keeping the swing hard but supple are drummer Philly Joe Jones, bassist Doug Watkins, and pianist Wynton Kelly; Jones was certainly the standout in this well-respected sampling of the best young players of the period, as he oftentimes matched the intensity and ingenuity of the star soloists he backed. Jones, in fact, puts in some career highlights on "Wonderful! Wonderful!" and "The Surrey With the Fringe on Top," just two of many wholly unique Tin Pan Alley song interpretations Rollins has done in his long career. From a career-defining period before the legendary Williamsburg Bridge layoff of two years, Rollins' Newk's Time may not make classic status in jazz roundups, but it certainly is a must for fans of this most important of classic hard bop soloists. ---Stephen Cook, allmusic.com

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CD1 (The Bridge):

01. Without a Song
02. Where Are You?
03. John S.
04. The Bridge
05. God Bless the Child
06. You Do Something to Me

CD2 (Our Man in Jazz):

01. Oleo
02. Dearly Beloved
03. Doxy
04. You Are My Lucky Star
05. I Could Write a Book
06. There Will Never Be Another You

CD3 (What's New?):

01. If I Ever I Would Leave You
02. Don't Stop the Carnival
03. Jongosos
04. Bluesongo
05. The Night has a Thousand Eyes
06. Brown Skin Girl

CD4 (Sonny Meets Hawk):

01. Yesterdays
02. All the Things You Are
03. Summertime
04. Just Friends
05. Lover Man
06. At McKie's
07. You're My Lucky Star
08. I Could Write a Book
09. There Will Never Be Another You

CD5 (The Standards Sonny Rollins)

01. Autumn Nocturne
02. Night And Day
03. Love Letters
04. My One And Only Love
05. Three Little Words
06. Travlin' Light
07. I'll Be Seeing You
08. My Ship
09. It Could Happen To You
10. Long Ago (And Far Away)
11. Winter Wonderland
12. When You Wish Upon A Star
13. Travlin' Light

Always a restless creative spirit, a constantly self-renewing citizen of the jazz world and one of the music's leading lights, saxophone legend Sonny Rollins has long been ambivalent about, even averse to, the business side of music. However, since forming his own record label, Doxy, in 2005, Rollins has emerged as an inspired-and surprisingly assertive-entrepreneur.

Doxy's first CD release, the 2006 studio recording Sonny, Please, earned a Grammy nomination for Rollins. Now Doxy is releasing an extraordinary double dose of Rollins-in-concert by way of a new live CD compilation entitled Road Shows, vol. 1 and a DVD (In Vienne) of a 2006 European festival performance.

Road Shows is the exciting inaugural release in a planned series of outstanding live Sonny Rollins recordings from the last 30-plus years. The seven tracks on the new CD, culled from the Carl Smith collection and Rollins's own personal soundboard tapes, were recorded in the U.S., Canada, Poland, Japan, France, and Sweden. Featuring the saxophonist with a variety of sidemen-including, on one track, the Christian McBride-Roy Haynes trio that appeared with him at his 50th Anniversary Carnegie Hall concert in 2007-Road Shows captures the Saxophone Colossus in full flight, dazzling audiences around the world.

In Vienne was produced by French television and offers an up-close glimpse at Rollins onstage-in high-definition video-as he unfurls a superb hour-long set before a euphoric crowd at the 2006 Jazz à Vienne Festival. The saxophonist, who famously spent two years (1959-61) practicing on New York's Williamsburg Bridge, above the East River, finds that "playing out of doors is always great. But Vienne, with its Roman amphitheater, is a particularly photogenic place, a beautiful venue. The little town is on the Rhône River. And it was warm that night-just perfect weather."

In the late 1980s, Rollins began to record many of his concerts for archival purposes with possible future release in mind, and also to circumvent bootlegs, which have been a long-standing problem for the artist. "I was much less intimidated by the tape at live concerts" than in the studio, he admits. When the tape was always rolling, "I stopped thinking about it, and it was much easier for me to get a natural performance."

From the start the intention was to record all of Sonny's concerts. Due to unforeseen technical problems or permission problems with venues, however, it was not always possible, according to Road Shows producer (and Rollins trombonist) Clifton Anderson. Of the approximately 600 concerts Rollins has performed since the late '80s, Anderson estimates that as many as one-third are in their archive, in whole or in part.

"There were performances that at the time they were done, I thought they might be acceptable at a later date in case I chose to release," says Rollins. "But I hadn't really listened; I filed it in my mind, and later had to stir my memory as to which ones might be good."

When the time came to program the new CD, says Anderson, "we both remembered that the concert in Toulouse was a pretty good show, and Sonny remembered that Tama was a good performance, so I went back and listened to those in particular. That's how we arrived at our choices."

Four tracks from the Rollins archive are included in Road Shows, vol. 1: "More Than You Know" (2006, Toulouse), which Sonny "brought out of retirement," not having played it since the 1950s, when he recorded it with Thelonious Monk; "Tenor Madness" (2000, Tama City, Japan), whose last appearance on a Rollins disc was the live G-Man in 1987; "Nice Lady" (2007, Victoria, BC), the first recording of a new Rollins calypso; and "Some Enchanted Evening" (2007, New York City), from his 50th anniversary Carnegie Hall concert with Christian McBride and Roy Haynes.

Road Shows' remaining three tracks were selected from Carl Smith's collection-"Blossom" (1980, Umea, Sweden), a fascinating, little-known Rollins original that "came and went pretty fast in the repertoire," says Rollins; "Easy Living" (1980, Warsaw), from Sonny's first trip behind the Iron Curtain ("the people were starved for music"); and "Best Wishes" (1986, Tokyo), previously recorded on his 1982 Reel Life album.

For future Road Shows compilations, Anderson and Rollins will have not only their own archives and Carl Smith's to draw from. "People have also submitted things to us," says Anderson, "most recently a tape from Keystone Korner in the mid-1970s and a cassette from the Bottom Line. The bands are different, the material's different; the one common denominator is Sonny killin' through all of it."

Doxy Records also plans to release a CD by Clifton Anderson entitled Decade in January 2009; and Rollins is looking forward to recording a new studio album of his own in the early part of the year.

For most of his career, Rollins reflects, "I was fortunate in having had my wife [Lucille] handle all this stuff I don't like doing. At the time she took over my management, in the early '70s, I already knew what I wanted to portray. Freedom Suite and Way Out West, for instance-those were my concepts."

Rollins had experienced promoter problems during his career, which led him to hold certain convictions about the business. But Lucille's involvement in his business affairs afforded him, for the first time, the benefits of effective artist representation-"and everyone had to be nice to her."

His wife's passing in late 2004 coincided with the expiration of his recording agreement with his longtime label, Milestone-and the establishment of Doxy Records. "I'm familiar with what needs to be done," Rollins says, "so I'm trying to be as involved as possible. We in jazz have to adapt to the new technology."

As Rollins told NPR's Howard Mandel, "The corporate culture is anathema to jazz. We don't like cookie-cutter everything exactly the same way. We're about grace and thinking things at the moment, like life is. Life changes every minute. I mean, a different sunset every night-that's what jazz is about."

Walter Theodore Rollins was born in Harlem, New York on September 7, 1930, of parents native to the Virgin Islands. His older brother Valdemar and sister Gloria were also musically inclined but only Sonny veered away from classical music after his uncle, a professional saxophonist, introduced him to jazz and blues.

He gravitated to the tenor saxophone in high school, inspired in particular by Coleman Hawkins. By the time he was out of school, Rollins was already working with big-name musicians such as Bud Powell, Fats Navarro, and Roy Haynes. In 1951 he debuted as a leader on Prestige; his affiliation with that label also produced classics such as Saxophone Colossus, Worktime, and Tenor Madness (with John Coltrane).

In early 1956, until he went out on his own permanently as a leader in the summer of 1957, Rollins played in the Max Roach-Clifford Brown Quintet, one of the most definitive (and tragically short-lived) hard-bop ensembles of its day. Often with his own pianoless trio, Rollins then entered a tremendously fertile period during which he recorded major works such as A Night at the Village Vanguard, Way Out West, and Freedom Suite.

In 1959, Rollins took the first of his legendary sabbaticals. Living on Manhattan's Lower East Side, he was often spotted on the nearby Williamsburg Bridge, deep in a rigorous practice regimen. "I wanted to work on my horn, I wanted to study more harmony," he told Stanley Crouch in The New Yorker.

When Rollins returned to performing in 1961, he recorded The Bridge with Jim Hall and Bob Cranshaw, led a quartet with trumpeter Don Cherry and drummer Billy Higgins, and recorded with his idol Coleman Hawkins. He also received a Grammy nomination for his score for the popular film Alfie. At decade's end he undertook one final hiatus, studying Zen Buddhism in Japan and yoga in India. While living in an ashram, he considered leaving music permanently in order to pursue spiritual studies, but a teacher persuaded him that music was his spiritual path, and an uplifting force for good.

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, George Duke); 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"). Sonny, Please was nominated for a best jazz album Grammy in 2006. 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 at the International Achievement Summit in Los Angeles, and in May 2007 was a recipient of the Polar Music Prize, presented in Stockholm.

Most recently, he was named best tenor saxophonist in the 2008 Down Beat Critics' Poll and the Jazz Times Readers' Poll, and by the Jazz Journalists Association in their June 2008 awards event.

"I believe that jazz is the music which best expresses the stirrings of the human soul," says Rollins.

A frequent visitor to Japan, Rollins returned there in spring '08 and, while in the neighborhood, made his premiere concert appearances in Singapore, South Korea, and Australia (at the Sydney Opera House). He will perform three concerts in Brazil this fall-his first visit there in nearly 25 years-followed by a tour of Germany in November/December.

"I feel tremendously privileged to have succeeded to some extent in a music that includes the likes of Louis Armstrong and Fats Waller-all of these guys who I thought were such tremendous people putting out all of this positive music," Rollins says. "It was all that I could ever dream-to be involved in this." ? ---amazon.com

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1. Solo improvisation/ I'm Old Fashioned (17:52) 
2. Autumn Nocturne (12:43)

Sonny Rollins - ts 
Clifton Anderson - tmb 
Mark Soskin - pno 
Jerome Harris - e bs 
Tommy Campbell – dms

Sonny Rollins 
Théatre le Rex 
Paris Jazz Festival 
Paris, France 
October 28, 1986

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A1 	Tenor Madness 	12:15
A2 	When Your Lover Has Gone 	6:12
B1 	Paul's Pal 	5:11
B2 	My Reverie 	6:08
B3 	The Most Beautiful Girl In The World 	5:35

Sonny Rollins - Tenor Saxophone
John Coltrane - Tenor Saxophone (#1 only)
Philly Joe Jones - Drums
Red Garland - Piano
Paul Chambers – Bass

Classical mythology is not the only place where the gods converse. Two of them readily communicate, using the universal language of the blues, for twelve-plus minutes on "Tenor Madness." Touted as the only recorded duet between the tenor titans of the ‘50s and ‘60s, the selection "Tenor Madness" represents the purity of improvisation, jazz and the blues. John Coltrane and Sonny Rollins both interned with Miles Davis and Thelonious Monk, drinking deep from both wells. However, it is a simple swing blues line composed by Rollins over which they exchange ideas at a very high level. This blues line is Rollins’s most famous, save for his much covered "Sonnymoon for Two," which was composed two years later.

Supporting Rollins and Coltrane on Tenor Madness, originally recorded in 1956 and recently reissued, is Miles Davis’s first classic rhythm section: pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. Collectively, these jazz deities serve up one of the most memorable sessions recorded. Aside from the classic duet, Rollins delivers the expected ("When You Lover has Gone") and the unexpected ("My Reverie," "The Most Beautiful Girl in the World) and the original ("Paul’s Pal"). Fantasy’s remastering efforts considerably clean up the sound. Jone’s drums are crisper and chamber’s bass less muddy; the latter still far from ideal by today’s spoiled standards.

No matter, though, Tenor Madness is a bit of jazz history that occurs when two masters at the top of their games butt heads, producing sparks...of music. ---C. Michael Bailey, allaboutjazz.com

At a time when he was a member of the legendary Clifford Brown/Max Roach sextet, Sonny Rollins was still the apple fallen not too far from the tree of Miles Davis. Tenor Madness was the recording that, once and for all, established Newk as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why a young Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz. With the team of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, staples of that era's Miles Davis combos, Rollins has all the rhythmic ammunition to cut loose, be free, and extrapolate on themes as only he could, and still can. This is most evident on his version of "The Most Beautiful Girl in the World," started in its normal choppy waltz time, followed by a sax/drums prelude, a drum solo from Jones, and steamed from there on in, a hot 4/4 romp. Garland is particularly outstanding for keeping up the pace, depth and placement on this one. A bluesy version of "When Your Lover Has Gone," again enlivened by Jones, and the legendary title track with Rollins and John Coltrane trading long solos, and fours with Jones, are tunes that in the mid-'50s defined the parlance "blowing session." "Paul's Pal," in tribute to Chambers, has become a standard in its own right with a bright, memorable melody showing the good humor of Rollins, especially on the second time through, while the saxophonist's ability to sing vocal like tones through his horn is no better evinced as during the light ballad "My Reverie." 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. It belongs on everybody's shelf. ---Michael G. Nastos, Rovi

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1. Cutie
2. Everytime we say goodbye
3. Dearly Beloved
4. Toot, Toot, Tootsie
5. Just in time
6. Brown skin girl
7. Mangoes

Leading jazz innovator Theodore Walter "Sonny" Rollins was born in New York on September 7, 1930. He was raised by his grandmother who had migrated to the United States from the Virgin Islands. "Sonny" Rollins came of age in Harlem in the late 1940s and early 1950s where he was influence by the remnants of the Harlem Renaissance and the World War II jazz era.

Music was significant in the Rollins household. Sonny's brother Valdemar and sister Gloria both studied the violin and piano. Sonny Rollins adopted the piano as his instrument. As new jazz forms became popular in the early 1940s, young Rollins began playing the alto saxophone at the age of 11 and progressed to the tenor saxophone by 1946. His inspiration came from jazz greats Louis Jordan who played alto saxophone and Coleman Hawkins who played tenor saxophone.

As a teenager Sonny and his musician friends created their own band and began experimenting with a new jazz musical style called be- bop. By his 18th birthday, Rollins developed a reputation in Harlem as a leading performer of be-bop. In 1949, at the age of 19, he made his recording debut with Babs Gonzales. In the same year Sonny also recorded with J.J. Johnson and Bud Powell the great be-bop pianist. He later joined the Clifford Brown- Max Roach Quintet in 1955 and also in the early 50s worked with Miles Davis, a rising trumpet performer.

Over the next five decades Rollins continued to build his reputation as an innovative artist and an accomplished musician. Rollins's most successful album is "Saxophone Colossus" in 1956. Sonny's first album in which he used a trio of saxophones, drums, and a double bass was called "Way out West" and was released in 1957. By the early 1960s Rollins was widely recognized as the most innovative tenor saxophonist in jazz. In 1965 Rollins wrote the film score for the movie Alfie, starring actor Michael Caine. Twenty years later, in 1985, Rollins released his first solo recording cleverly entitled Solo Album.

In the year 2000, Rollins, after more than a half century as a jazz performer, won his first Grammy for his performance entitled This Is What I Do. Four years later in 2004, Rollins won a second Grammy for his composition Without A Song, along with a lifetime achievement award from the National Academy of Recording Arts and Sciences. --- blackpast.org

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1.On Green Dolphin Street (7:26)
2.Three Little Words (9:09)
3.Mademoiselle De Paris (1:42)
4.To A Wild Rose (6:01)
5.There Will Never Be Another You (16:35)

Musicians:
Sonny Rollins-tenor sax
Tommy Flanagan-piano
Bob Cranshaw-bass
Billy Higgins-drums
Micky Roker-drums

This LP features Sonny Rollins and a quintet (pianist Tommy Flanagan, bassist Bob Cranshaw and both Billy Higgins and Mickey Roker on drums) playing an outdoor concert in the rain. Rollins was in a strolling mood and he wanders all over the stage which means that he is off-mike much of the time. His playing on these five standards (which includes a 16-minute version of the title tune) is fine, but the erratic recording quality makes this one of the lesser Rollins albums. ---Scott Yanow, Rovi

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1 	The Stopper	2:56
2 	Almost Like Being In Love	3:23
3 	No Moe	3:29
4 	In A Sentimental Mood	3:18
5 	Scoops	2:13
6 	With A Song In My Heart		3:06
7 	Newk's Fadeaway		3:10
8 	Time On My Hands	2:42
9 	This Love Of Mine	2:24
10 	Shadrack	2:32
11 	On A Slow Boat To China	2:39
12 	Mambo Bounce	2:22
13 	I Know		2:32

Bass – Percy Heath
Drums – Art Blakey (tracks: 5 to 12), Kenny Clarke (tracks: 1 to 4), Roy Haynes (tracks: 13)
Piano – John Lewis (tracks: 1 to 4), Kenny Drew (tracks: 5 to 12), Miles Davis (tracks: 13)
Tenor Saxophone – Sonny Rollins
Vibraphone [Vibes] – Milt Jackson (tracks: 1 to 4)

Included here are some of Sonny Rollins' earliest sessions as a bandleader. These are among the fresh and vibrant baker's dozen of selections on Sonny Rollins With the Modern Jazz Quartet (1953). The title is a bit misleading though, since the MJQ -- with John Lewis (piano), Milt Jackson (vibes), Percy Heath (bass), and Kenny Clarke (drums) -- is only accounted for during the first four sides. There is a playful and energetic tone that ricochets from Jackson's fluid vibes, landing firmly in Rollins' musical court. One prime example of this interaction is heard throughout the solos on the opening track, "Stopper." Similarly, "Almost Like Falling in Love" bops, weaves, and swings throughout, with some expressive contributions via Lewis, effectively linking Rollins' and Jackson's solos. "No Moe," which stands as one of the best originals on the disc, also bears their undeniable connection. Another not-to-be-missed reading is the sultry "In a Sentimental Mood." Here, Rollins spirals mature and ethereal lines against Jackson's resonant intonation and shimmer. If just for these tunes, Sonny Rollins With the Modern Jazz Quartet is a vital component in any jazz enthusiasts' collection. The rest of the disc is performed by Rollins and a quartet that also includes the talents of Kenny Drew (piano), the MJQ's Percy Heath (bass), and the main Jazz Messenger, Art Blakey (drums). On the original tune "Scoops," Blakey's hardball antics provide well-placed sonic interjections, punctuating Rollins' highly infectious melodic sense. While on the subject of catchy tunes, all ears should be directed to the biblically derived title "Shadrack," which had been a signature piece for Louis Armstrong. This early incarnation of the Sonny Rollins Quartet has rarely sounded as cohesive, as they collectively percolate with their definitive execution. Of particular note is the inclusion of Miles Davis' "I Know." This extension of Charlie Parker's "Confirmation" features Davis on piano accompanying Rollins with solid chord progressions, allowing the burgeoning player to lead his first-ever quartet with Heath and Roy Haynes (drums). ---Lindsay Planer, AllMusic Review

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1	For All We Know			
2	Tennessee Waltz			
3	Little Girl Blue			
4	Falling In Love With Love		play
5	I Should Care			
6	Sister			
7	Amanda

Personnel: 
Sonny Rollins, Branford Marsalis (tenor saxophone); 
Clifton Anderson (trombone); 
Mark Soskin (piano, synthesizer); 
Tommy Flanagan (piano); 
Jerome Harris (guitar, electric bass); 
Bob Cranshaw (electric bass); 
Jack DeJohnette, Jeff Watts (drums).

In a career that spanned more than five decades, Sonny Rollins has worked in nearly every style of jazz, from his early days with Miles Davis to his excursions into fusion during the 1970s. Through it all he has remained a uniquely talented player. On 1989's FALLING IN LOVE WITH JAZZ, Rollins brings together several of his frequent '80s collaborators, including Clifton Anderson on trombone, pianist Mark Soskin and electric bassist Bob Cranshaw. On two tracks, the standard "For All We Know" and Sammy Cahn's "I Should Care," Rollins works with a group featuring such fine instrumentalists as Branford Marsalis, who contributes some Rollins-esque tenor sax, along with Tommy Flanagan on piano and drummer Jack DeJohnette. The set also includes Rollins's inimitable take on "Tennessee Waltz" and two originals, "Sister" and "Amanda," both given an intimate setting consisting of just Rollins's sax, an electric guitar and a trombone. ---cduniverse

This average effort from Sonny Rollins and his regular sextet is most notable for two numbers ("For All We Know" and "I Should Care") that find Branford Marsalis joining Rollins in a quintet with pianist Tommy Flanagan. Unfortunately Marsalis makes the fatal error of trying to imitate Rollins (instead of playing in his own musical personality) and he gets slaughtered. Much better are Rollins's romps on "Tennessee Waltz" and "Falling in Love with Love." ---Scott Yanow

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