166. Sonny Rollins / Rollins Plays for Bird (1956)

The medley of post-1950 Charlie Parker tunes that begins this tribute to the late Mr. Parker flows as effortlessly as a river thanks to Wade Legge's piano continuo and Max Roach's drum kit. Rollins and Kenny Dorham do most of the melody and choruses, although Roach gets a fair shake, too. He characteristically mixes it up during the front line's choruses, laying on the cymbals and hard rolls while changing from straight time to double-time and back again, adding a loping feel, building urgency, or cooling it back down as needed. Legge and bassist George Morrow are the only musicians in the quintet to never work with Parker, so there is a familiar intimacy about the music that comes from the friends honoring a friend. Dorham is relaxed and outstanding in the "Star Eyes" segment. He especially soars in "Kids Know," a Rollins original in 3/4 that the band stretches out generously. There are a lot of Charlie Parker tribute albums out there, hundreds since 1955, and some are real time wasters. This date is one of the best, the most genuine, and the most enjoyable.

22. Sonny Rollins / Tenor Madness (1956)

It's great to hear Coltrane and Sonny Rollins working alongside one another. At the time of this recording, both players were up and coming, on the brink of changing jazz as we hear it today. On the title track "Tenor Madness," everyone is eager and gregarious. Coltrane goes first, offering a bright, slippery tone with more focused objectives. Sonny is next, spreading it around more with a deeper, wetter tone. The playing from both men is anything but a cutting contest. In fact, they sound relaxed and patient, as if casually trying out new ideas without worrying about the overhead. It's a quality session with some historic import, and an interesting footnote to fans of Miles or Monk, for obvious reasons. Tenor Madness is also interesting in that it contains Miles Davis' working group, but proceeds without his direction. In that regard, the product comes off as far less focused and lacking the inertia of Workin', Steamin' or Relaxin'.