sonny rollins new york times

Any experiences that he’s had, or things that he’s played, he takes and folds into himself, and they become something new. Musicians borrow different parts and make them their own, but there’s nothing really new, nothing that hasn’t been done before. Track listing. Times Books.

Humans and materialism die. Any astronomer can tell you that what we know about the universe makes up a fraction of what there is to be discovered. It’s an accumulation of wisdom, the context art gives us that puts life into perspective.When I go to the museum and I look at a piece of art, I’m transported. What that means is mentally because as long as one's mind hasn't also gone, there is plenty that still can be accomplished. Those ideas don’t belong to any one person, and as they evolve, disappear and reappear, they remind us that regardless of what’s happening now, our lives on this earth will always be part of something bigger. This is the first essay in The Big Ideas, a special section of The Times’s philosophy series, The Stone. It’s beyond modern culture’s political, technological soul. When you put on The Bridge, take a tumbler of whiskey and imagine you’re staring out at New York City. Technology is no savior. The New York Times Essential Library of Jazz. It’s infinite, and without it, the world wouldn’t exist as it does. His playing struck me, and I realized that jazz would be my path in this life. 2002.

Art matters today more than ever because it outlives the contentious political veneer that is cast over everything.In art, we can find a humbling sort of wisdom. He puts them together and that comes out in his style. Now's the Time" (Charlie Parker) - 4:06 "Blue 'n' Boogie" (Dizzy Gillespie, Frank Paparelli) - 5:32 Sonny Rollins. “Mary Had a Little Lamb” is there, and I can come back to it if I want, but what I’m creating is greater than the sum of the parts — technical ability, notes, themes — I’ve collected along the way. So I think like all of us who finally accept the reality of the effects of entropy on our body, he knows we have no choice but to accept it and keep on trucking as best we can.

Whitney Balliett’s 1961 “Talk of the Town” piece about Rollins’ sabbatical: Sonny Rollins’ 2015 piece in The New York Times Magazine: Amanda Petrusich’s 2017 New Yorker piece: Background: The Sonny Rollins Bridge Project began in March 2016 out of love and respect for the living legacy of Sonny Rollins, the Saxophone Colossus. Blues and Roots (1959) Rosenthal, David. After what we could consider to be the first sound, from a spiritual perspective — “om” to some, “amen” to others — it’s all the same. Sonny Rollins The Bridge. 1 2 3 GRAMMY Award Winners accessed September 29, 2009 The beauty of improvisation is that it lets you do anything. Archived from the original on July 9, 2015. Hard Bop: Jazz and Black Music, 1955-1965. I don’t know what I’m going to play — that’s where intuition, and art, comes in.If I want to improvise during “Mary Had a Little Lamb,” for example, first I memorize it.

This kind of prolificacy seems absurd now, during an era in which new … Chapter 48.

And that material is there for all musicians and artists to access. And as things come to me, unplanned, I surprise even myself.I believe in reincarnation, which means that a person playing music has got a lot of things in his mind that he’s heard already. When I visited Sonny Rollins at his home in Germantown, New York, a semi-hardscrabble hamlet 100 miles up the Hudson River, the 82-year-old jazzman they call the … ↑ Phillip Lutz, "An Environmental Benefit, Set to the Jazz of Sonny Rollins", The New York Times, November 27, 2009. A Grammy Award-winning tenor … New York. (Photo by Bob Parent/Getty Images) At age 89, after 70 years as a jazz saxophonist who played with John Coltrane, Miles Davis, and Charlie Parker (to name just a few), Sonny Rollins quietly gave up playing in 2014 due to pulmonary fibrosis. The New York Times. Claude Debussy and Johann Sebastian Bach may sound different, but what they did was all there already, in a sense.When I was young, growing up in Harlem, I heard Fats Waller perform. Oxford University Press. fantastic interview from the man who's basically seen and experienced it all in modern jazz. The spirit of art shines through in a performance when I stop thinking — when I let the music play itself, not just the one song that I’ve memorized, but all of the songs and experiences I have in my mind. Sonny Rollins is a Grammy Award-winning saxophonist, a member of the American Academy of Arts and Sciences and a recipient of the 2010 National Medal of Arts. It represents the immaterial soul: intuition, that which we feel in our hearts. Chapter 3. Downbeat.com. ↑ "DownBeat Magazine". I get the sense that Miles' death almost 30 years ago really affected Sonny and it puts his current state of mind in well deserved serene space; Stoic acceptance that he can't play anymore...Well, he's still alive and has already seen that happen to Miles and then Freddie Hubbard and then Horace Silver. Well, I hope so anyway.I love these quotes about the recording he did with the Rolling Stones and have respect for how tactful Sonny described it! We can eat, sleep, look at screens, make money — all aspects of our physical existence — but that doesn’t mean anything. Sonny Rollins. But regardless of who I sounded like, the difference between us would never be more than surface-level, because behind one guy’s personal style is something else.In jazz, we don’t consciously borrow in the same way that other artists might. Jazz being the great interpretive music that it is, of course, I didn’t have to sound like Waller.