Sonny Rollins Sonny Rollins Plus Three
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- Released: March 18, 1996
- Originally Released: 1996
- Label: Milestone
Entertainment Weekly - 3/22/96, p.75"...Another unpretentiously jazz-affirming dose from one of the world's greatest living musicians."
- Rating: A-
Down Beat - 6/96, p.404.5 Stars - Very Good/Excellent - "...Sonny gets off on every track of +3, and no other horn or competing factor abridges or intrudes on his space....When Sonny's up, swinging like this, you never want him to come down."
Musician - 7/96, pp.87-88"...what Sonny's after is the starkest refinement of [his] voice, and there aren't many collaborators who've grown in a way that's sympathetic with his monolithic standard....There's an integration of the typically transcendent Rollins...with the wizened balladeer..."
Song previews provided courtesy of iTunes
Personnel: Sonny Rollins (tenor saxophone, chimes); Tommy Flanagan, Stephen Scott (piano); Bob Cranshaw (electric bass); Jack DeJohnette, Al Foster (drums).
Recorded at Clinton Recording Studios, New York, New York on August 30, 1995 and October 7, 1995.
Personnel: Sonny Rollins (tenor saxophone, chimes); Jim Hall (guitar); Herbie Hancock, Stephen Scott, Tommy Flanagan (piano); Bob Cranshaw (electric bass); Jack DeJohnette, Al Foster, Mickey Roker, Stu Martin (drums).
Audio Remixers: Lucille Rollins; Richard Corsello.
Recording information: Clinton Recording Studios, Inc., New York, NY.
Editors: Lucille Rollins; Richard Corsello.
Photographer: Steve Maruta.
Okay, if you were planning on grousing about "those records Sonny makes for Milestone," you can forget it. +3 is great. As the title suggests, Rollins is supported by two different trios, with the lion's share of the work going to the Tommy Flanagan/Bob Cranshaw/Al Foster ensemble (Steven Scott and Jack DeJohnette spell Flanagan and Foster for two cuts). It's mostly a program of standards, and the tenorist stretches out in a most luxurious way, with the tunes clocking in at between six and twelve minutes. Of his two compositional contributions, one is based loosely on the changes to "I Got Rhythm," the other is essentially a blues. What we have here, then, is Sonny Rollins playing great material with two trios of his peers, allowing himself to investigate and improvise to the fullest (and no synths or disco grooves either). If you miss the Caribbean stuff, you can always check out SUNNY DAYS, STARRY NIGHTS or the SILVER CITY compilation.
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