{"id":5840,"date":"2014-06-24T21:08:25","date_gmt":"2014-06-25T04:08:25","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5840"},"modified":"2014-06-24T21:08:25","modified_gmt":"2014-06-25T04:08:25","slug":"recommendation-sonny-rollins","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/06\/recommendation-sonny-rollins\/","title":{"rendered":"Recommendation: Sonny Rollins"},"content":{"rendered":"

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Sonny Rollins, Road Shows Volume 3<\/em><\/a> (Okeh)
\nThriving on the energy he gets back from his listeners, Rollins can electrify them. In the third volume of his \"61yDwnEkEbL._SL500_AA280_\"<\/a>Road Show series the formidable tenor saxophonist sends currents through audiences in Japan, the United States and four places in France. The solitary listener to the recording may find himself joining in the ovations for Rollins\u00e2\u20ac\u2122s audacity, humor and explosions of creativity. From 2001 to 2012, his accompanists vary, although the stalwart bassist Bob Cranshaw is a constant and trombonist Clifton Anderson is on most tracks. Alone with his imagination on \u00e2\u20ac\u0153Solo Sony,\u00e2\u20ac\u009d Rollins quotes dozens of tunes, stitching disparate snatches of melody together into a new creation. \u00e2\u20ac\u0153Why Was I Born?\u00e2\u20ac\u009d runs over 23 minutes and doesn\u00e2\u20ac\u2122t contain a boring second. It\u00e2\u20ac\u2122s been years since I\u00e2\u20ac\u2122ve had this much fun listening to a record. <\/p>\n","protected":false},"excerpt":{"rendered":"

[contextly_auto_sidebar id=”bEUzJ9bHLGp29bPmmRGwtMXlUF53vVkc”] Sonny Rollins, Road Shows Volume 3 (Okeh) Thriving on the energy he gets back from his listeners, Rollins can electrify them. In the third volume of his Road Show series the formidable tenor saxophonist sends currents through audiences in Japan, the United States and four places in France. The solitary listener to the […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-5840","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5840","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5840"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5840\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5840"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5840"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5840"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}