Moving Out is an absolutely essential and historically monumental early hard bop studio album by the legendary American tenor saxophonist Sonny Rollins, originally recorded across two landmark sessions in 1954 and issued by the foundational imprint Prestige Records under the barcode catalog 0888072315945. Serving as a definitive turning point in Rollins's career, this fast-paced 31-minute program captures the young titan stepping confidently into his role as one of the most inventive and commanding voices in modern jazz improvisation. The first four tracks feature an explosive, high-octane bebop lineup featuring Kenny Dorham's crisp trumpet, Elmo Hope's angular piano comping, Percy Heath's walking bass, and the thunderous, driving trap work of master drummer Art Blakey. Together, they blaze through the intense rhythmic syncopation of the title track Moving Out, the blazing Swingin' For Bumsy, and the blues-rooted swing of Solid. The album's crown jewel, however, is the nearly 11-minute closing ballad, More Than You Know, which features a completely separate, legendary personnel lineup including bassist Tommy Potter, drummer Art Taylor, and the high priest of bop himself, Thelonious Monk, on piano. Rollins delivers a breathtakingly mature, richly expressive solo on this standard, perfectly matched by Monk's idiosyncratic, structural accompaniment. Reissued with immaculate fidelity to preserve the warm acoustic space, snappy snare cracks, and full-bodied horn tones of Rudy Van Gelder's original tape transfers, this masterpiece remains an indispensable cornerstone for any serious bop archivist or acoustic jazz purist.

Solid is an exceptional archival studio release from the legendary American jazz saxophonist Sonny Rollins, issued in 2002 via the Past Perfect Silver Line label under the catalog number 220328-203. This superb retrospective compilation captures the absolute pinnacle of Rollins's historical 1954 Prestige recording era, a transformative year where he permanently reshaped the architecture of hard bop tenor saxophone improvisation. Backed by a historic rhythmic powerhouse that includes a young Miles Davis, Kenny Clarke, and the Modern Jazz Quartet rhythm section, these legendary tracks display Rollins's robust tonal power, melodic ingenuity, and muscular rhythmic pacing. The historic session uncovers the absolute genesis of several iconic jazz standards composed by Rollins himself, featuring the definitive early studio takes of the lightning-fast bop workout Airegin, the classic modal cadence of Oleo, the playful syncopation of Doxy, and the hard-swinging title groove Solid. These masterworks are seamlessly balanced by intricate, swinging interpretations of popular standards like The Way You Look Tonight and deep-grooving obscure pieces like Art Farmer's Soft Shoe. Digitally transferred and preserved with stunning modern acoustic warmth and crystal-clear channel separation, this audiophile edition stands as a mandatory cornerstone document for serious collectors of mid-century post-bop development, modern jazz history, and vintage saxophone virtuosity.

Two of trumpeter Art Farmer's earlier sessions as a leader are reissued on this CD in the OJC series. Farmer teams up with an all-star quintet (which includes tenor-saxophonist Sonny Rollins, pianist Horace Silver, bassist Percy Heath and drummer Kenny Clarke) for four songs and dominates a quartet (with pianist Wynton Kelly, bassist Addison Farmer and drummer Herbie Lovelle) on six other tunes. Farmer's sound is lyrical even on the uptempo pieces and he is heard throughout in his early prime. Highlights include "Soft Shoe," "I'll Take Romance," "Autumn Nocturne" and an uptempo "Gone with the Wind." One should note that the programming differs from what is listed, with "Soft Shoe" (which should have been the opener) actually appearing fifth and the songs listed as appearing second through fifth moving up to first through fourth. Despite that flaw, the music is quite enjoyable and a must for 1950s bop collectors.

On Live At Maybeck Recital Hall, Volume Thirty-Seven, the brilliant American jazz piano virtuoso and masterfully swinging improviser John Colianni steps completely solo onto the stage to deliver an exceptionally fluid, high-velocity, and masterfully synchronized recital document. Recorded live in September 1994 at the acoustically flawless Berkeley venue and released in 1995 by Concord Jazz, this monumental milestone captures the former Mel Tormé accompanist operating at the absolute pinnacle of his physical and harmonic powers. Spanning over 63 minutes of immaculate high-fidelity spatial design, the 14-track landscape operates with an intense, lightning-fast, and beautifully balanced kinetic energy. Unaccompanied by a rhythm section, Colianni acts as a phenomenal orchestrator, weaving deep stride legacies with blazing bebop velocity—firing off spectacular tracking highlights like the deeply bluesy opener Blue and Sentimental, a lightning-fast, stride-infused workout on Tea for Two, and a shockingly inventive, radical stride deconstruction of Nirvana's grunge anthem Heart Shaped Box. Driven by Colianni's blinding right-hand runs, flawless internal rhythm engine, and muscular block-chord alignment, this archive remains an indispensable masterpiece for serious bop purists and solo piano collectors worldwide.

Singer Abbey Lincoln's second recording, and her first for Riverside, finds her accompanied by quite an all-star roster: tenor saxophonist Sonny Rollins, trumpeter Kenny Dorham, pianist Wynton Kelly, bassist Paul Chambers, and drummer Max Roach. Even this early, she was already a major jazz singer with a style of her own. Lincoln was careful from this point on to only interpret lyrics that she believed in. Her repertoire has a few superior standards (including several songs such as "I Must Have That Man!" and "Don't Explain" that are closely associated with Billie Holiday) plus Oscar Brown, Jr.'s "Strong Man" and Phil Moore's "Tender as a Rose"; she takes the latter unaccompanied. "Don't Explain" is slightly unusual in that Paul Chambers is absent and Wynton Kelly makes an extremely rare appearance on bass. All three of Abbey Lincoln's Riverside albums are well worth the listen.

Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses. On "The Eternal Triangle," in particular, Stitt and Rollins impress in their roles as tenor titans, with Stitt going in for sheer muscle as that most stout of bebop cutters and Rollins opting for some pacing as a more thematic player…

On Nov. 27, “Black Friday,” independent jazz label Resonance Records will continue its ongoing tradition of releasing previously unissued archival recordings as limited-edition Record Store Day exclusives with a stellar new three-LP collection of historic Sonny Rollins performances, Rollins in Holland: The 1967 Studio & Live Recordings.

Sonny Rollins is the most enduring tenor saxophonist of the bebop and hard bop eras, but also one of the greatest jazz saxophonists of all time. His fluid and harmonically innovative ideas and easily accessible sound have influenced generations of players. Nicknamed "Newk," he served early apprenticeships with bop masters from Bud Powell and Miles Davis to Max Roach & Clifford Brown. After 1956's classic Saxophone Colossus was released, he was heralded as jazz's top tenorist. A year later, after Way Out West and A Night at the Village Vanguard (two pioneering pianoless trio dates), he entered a class of his own – a reputation he never relinquished. Several of his own compositions, including "Oleo" and "Doxy," are jazz standards. Rollins retired twice early on: the first time, from 1959 through 1961 (when he practiced his horn on the Williamsburg Bridge), resulted in 1962's comeback album The Bridge.

Plus 4 was originally released on Prestige in 1956 and features Sonny Rollins playing with the Cliff Brown/Max Roach Quintet. Described as a particularly strong hard bop set, the album contains 5 cuts, including 2 Rollins originals “Pent-Up House” and one of his best known pieces, “Valse Hot”.

Blue Note Records has announced an April 26 release of Sonny Rollins A Night at the Village Vanguard: The Complete Masters, a special Tone Poet Vinyl Edition of the legendary saxophonist’s tour-de-force live trio album. The expanded 3-LP set, which can be ordered now on the Blue Note Store, marks the first time Rollins’ complete recorded performances at the Village Vanguard on November 3, 1957 will be made available in a single vinyl package. The collection is also available as a 2-CD set and on all digital formats.

Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of "St. Thomas," tears into the chord changes of "Mack the Knife" (here called "Moritat"), introduces "Strode Rode," is lyrical on "You Don't Know What Love Is," and constructs a solo on "Blue Seven" that practically defines his style.

After he was coaxed out of seclusion in Chicago to replace Harold Land in the Clifford Brown/Max Roach quintet in 1954, this release was Sonny Rollins' first album as a leader since the conclusion of his first self-imposed sabbatical. Roach is on hand in the drummer's seat, spurring Rollins along every step of the way. Not that the tenorist needs much spurring - he comes flying out of the gate on the opening tune, "There's No Business Like Show Business" and doesn't let up for the duration of the session. He takes his first chorus on "Show Business" with only bassist George Morrow for support, then when the drums come in, he blows ferocious double-time before giving way to Roach's extremely musical solo. Rollins and Roach also work off of each other to great effect on "Raincheck," trading fours on this imaginative selection from the from the Billy Strayhorn catalog…

Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including "Without a Song" and "God Bless the Child") plus two fiery originals, highlighted by the title cut. The interplay between Rollins and Hall is consistently impressive, making this set a near-classic and a very successful comeback.