Sonny Side Up

This one's a shout out to all fans of music out there...but especially saxophonists. This record, released in 1957 under the three names of Dizzy Gillespie (trumpet), Sonny Stitt (saxophone), and Sonny Rollins (saxophone), is one of the finest, most swinging, and most fun bebop records out there. These three horn players are backed by a rhythm section consisting of drums (Charlie Persip), bass (Tommy Bryant), and piano (Ray Bryant). But the focus is really an overarching saxophone duel between the two legendary saxophonists Sonny Rollins and Sonny Stitt. By the way, Dizzy Gillespie also kills, but the focus is more on the saxophones. While some records like this one, in which the focus is on the two saxophones, overuse the saxophones, rendering the listener impatient, this record adds trumpet solos and occasional piano solos to keep you on your feet.

The first tune, whose name obviously alludes to the overwhelming presence of "Sonny" in this album (although it is not written by any of the group-members), is a light, medium swing version of "On the Sunny Side of the Street." This tune, which possesses a certain subtle fire within, eases the listener into a comfortable mindset to last the rest of the album. The three solos swing well and leave you feeling generally happy. It sets the mood very well for the following tracks. Next up is a rhythm changes tune entitled "The Eternal Triangle"--my personal favorite rhythm changes tune. This solo is played at a blistering tempo and swings its ass off. The two tenors solo for the first half of the solo section, first separately, then trading sixteens and eights. If there is any one song you should listen to in order to appreciate the tenor saxophone, this is it. The two tenors play some of the most mind-blowing material you'll hear. After the tenors finish Dizzy Gillespie steps in for a few choruses, but at this point your mind is already blown. The trumpet is great if you really listen to it, but you'll probably be too dazed to really appreciate it. Finally the tune ends with a short piano solo, trading fours with the drums, and the head out.

The third tune, the most mellow of them all, is a slower (but not too slow) blues called "After Hours." Unlike the previously mentioned tracks, it features a long piano solo for an intro. Let me just say that this is some of the bluesiest piano solos you'll hear in jazz, and it hits the spot in an almost "gut-wrenching" fashion. Afterwords you hear an amazing trumpet solo, which is not overshadowed by the saxophones, followed by both saxophones soloing. The last track, "I Know That You Know," is a fast bebop tune which spices things up in the first solo. Sonny Rollins plays his chorus in stop time. After this the tune releases all the tension in two solos which swing as hard, if not harder than "The Eternal Triangle." Dizzy and Sonny Stitt both dig into their solos, taking the tune to another level of energy.

This album ends leaving you wanting more, which is always a good sign. Its extraordinary levels of swing and energy, as well as mind-blowing blowing (a pun), leave you wanting to play the saxophone. I know I did. I actually went downstairs and picked up an old saxophone and attempted to play it that very day. Of course I didn't know how to play it, and still don't, but I tried. Anyway, the point is that this album defines jazz saxophone and the meaning of swing. I frown upon any saxophonists who have not heard this record in its entirety already. But if you are a musician or an avid music listener, you must add this album to your collection and listen to it. It is an easy listen that will brighten your life.