Sonny Rollins
Sonny Rollins
Walter Theodore "Sonny" Rollins is an American jazz tenor saxophonist, widely recognized as one of the most important and influential jazz musicians. In a seven-decade career, he has recorded at least sixty albums as leader and a number of his compositions, including "St. Thomas", "Oleo", "Doxy", "Pent-Up House", and "Airegin", have become jazz standards...
NationalityAmerican
ProfessionSaxophonist
Date of Birth7 September 1930
CityNew York City, NY
CountryUnited States of America
If you could do that, it's great to do it. And a lot of great musicians have done it. A lot of musicians get to a point and stay in that groove all of their career. I have just not been able to do it because I don't think I'm a good enough musician. Someone was criticizing Miles, and Miles said, 'The truth is, it's much more difficult for me to play the way I did in 1947. It's really a physical thing. Sure, I like to experiment, but it's really a physical element.' He brought up a good point. That kind of playing, you've got to be young, in a way. It demands a certain youthful vigor.
It was a distinct honor because of the people inducted. Some were such giants of the music. I didn't really feel worthy to be included with Fats Waller.
I am always happy to be practicing. Period, ... I enjoy just playing my horn and going into the type of meditation that playing involves. It puts me mentally in a place that is always transcendent and above real life. I love playing just for myself. It's a great experience.
'St. Thomas' is actually an island melody, sort of a traditional island melody, so all I did was sort of make my arrangement on it.
So the people over there have a very advanced appreciation of music and they recognize the power and the beauty and the wonderfulness of jazz.
Playing in public engenders new paths in your brain that you won't get playing alone. In other words, I can learn something playing in public in five seconds. If I was learning it in private, it might take me three months to get.
I feel that L.A. has not always been my strongest base for support. That can be for various reasons.
Jazz never ends... it just continues.
There was a period which I refer to as the 'Golden Age of Jazz,' which sort of encompasses the middle Thirties through the Sixties, we had a lot of great innovators, all creating things which will last the world for a long, long time.
I have seen great jazz musicians die obscure and drinking themselves to death and not really being able to get any work and working in small, funky jazz clubs.