After Sonny Rollins took a two-year hiatus from performing and recording, critics were salivating upon the release of this record, assuming that Rollins would emerge with the "new sound." Many, in fact, were disappointed by The Bridge at the time, not so much because of what it was, but because of what it wasn't. It wasn't revolutionary or groundbreaking.
It was simply one of the greatest albums from one of jazz's greatest musicians.
Rollins opted for the presence of guitarist Jim Hall as opposed to the traditional piano support. The result is remarkable: Hall's elegance, restraint, and clarity of tone meshed perfectly with Rollins' rough-edged, urgent, and ambitious blowing. Rollins, as it turned out, did mature and expand his scope during his two-year woodshedding experience (he practiced frequently on the Williamsburg Bridge, hence the album's name). His playing, already quite formidable by 1960, became even more assured, more creative and far-reaching, and overall, more compelling.
On the original "John S.," Rollins offers many angular turns, building (but not always resolving) tense phrases. Hall, rather than be intimidated by Rollins' explorations, seems content to stick to his guns, offering fluid single-note lines and unique chordings. Rollins is liberated by the absence of the piano, recalling his landmark Village Vanguard trios. Hall's accents behind him make a strong impact without ever getting in his way. Rollins again shows his affinity for pop ballads: On "You Do Something to Me," he interprets Cole Porter's melody with childlike wonder. Rollins is never condescending to the melody, but he's not constrained by it either. Rollins offers seductive slurs and fragile phrases on "Where Are You" and he jubilantly glides through "Without a Song." Billie Holiday's "God Bless the Child" receives a relaxed and plaintive treatment. On the title track, the other Rollins original, he soars maniacally while the crafty stop-time passages are handled with supreme wit by Hall.
Above all, it's the partnership between Rollins and Hall that commands attention. Hall improves every session he graces. While capable of speedy runs, Hall uses them sparingly and only as a contrast to his wonderfully melodic and creative improvisations. Hall and Rollins seemed to learn from each other: Hall seems a bit more aggressive than usual while Rollins' playing shows a depth he hadn't often reached previously.
If you like Sonny Rollins, check out:
Sonny Rollins Freedom Suite
Dexter Gordon Our Man In Paris
David S. Ware Surrendered
-- Marc Greilsamer
