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.