The Friday song (on a Sunday): ‘Paul’s Pal’ by Sonny Rollins

My two favourite musicians of all time had birthdays this week. The greatest singer-songwriter and commentator, Bob Dylan, turned 85. And Miles Davis, trumpeter, band leader and composer, were he alive, would have turned 100. I celebrated them both.

Sadly, too however, the week also saw the passing of the last of the jazz tenor sax titans, Sonny Rollins, aged 95. While Rollins stopped playing due to a respiratory condition more than 10 years ago, his presence has hovered over all of jazz and in particular, the bop and post-bop eras, for seven decades. 

Sonny Rollins or “Newk” as he was nicknamed by Davis, was both innovative and adaptable. He was an improvisational risk taker and always on a musical and spiritual quest. His feel and command of technique and styles placed him at the pinnacle of the saxophone pyramid and earned him the name to go with one of his seminal albums, Saxophone Colossus.  After playing with Thelonius Monk, Charlie Parker, Davis and “Bud” Powell, Rollins was set for a solo career. He crossed styles, characterised by a warm tone inspired by Coleman Hawkins, had the capacity for instrumental dexterity and a deep understanding of melody and harmony. 

Feeling somewhat frustrated at his own lack of progress at the tail end of the 1950s, Rollins stepped away from performing and spent a couple of years in solo, daily contemplation and practice under the Williamsburg Bridge, which connects Manhattan and Brooklyn. Jazz activists have and continue to lobby to have the bridge renamed after him. The Bridge, the album that emerged from that hiatus, features a star turn by guitarist Jim Hall and is worth a listen. 

Up for a bit of fun and musical cred, The Rolling Stones sought out Rollins’ signature sound and solo ideas for the Tattoo You sessions and it’s Rollins you hear, overdubbed on a trio of tracks, including Waiting on a Friend. However, for today I had to pick something from the three albums I re-listened to after Sonny’s passing: my personal-pick album, On Impulse!, and two of the most significant, Saxophone Colossus and Tenor Madness, on which the opening track is the only known recording of blowers, “Newk” and “’Trane”.

Picking ‘Paul’s Pal’

My song choice boiled down to two tracks; the calypso joy of St Thomas, which became a Rollins evergreen, or Paul’s Pal, written by Rollins for his friend and the bass player on Tenor Madness, Paul Chambers. I chose the latter, mainly because I always feel after listening that Max Roach should have tried another take of his drum solo on St Thomas. 

So, to Paul’s Pal. I love the relaxed melody. It invites exploration too, proven on different recordings by Coltrane, trombonist J.J. Johnson, pianist Kenny Drew, trumpeter Donald Byrd and harmonica legend Toots Thielemans. 

Despite all those interpretations, though, the original on Tenor Madness is the perfect version. Backed by Davis’s first great quintet rhythm section, of bassist Chambers, Philly Joe Jones on drums and Red Garland on piano, Rollins leads out with the perambulating melody, prodded by the bass, before taking a warm, dexterous solo. 

A fleeting hint at the melody opens the space for his friend Chambers to take the next solo, before giving Garland his genteel opportunity. The soloists all work in and around the melody, constructing and deconstructing, trading around the changes, without losing swing or warmth. Rollins is masterful, his ideas lightning sharp. Enjoy Paul’s Pal and wishing you all a good weekend of remembering!

Listen to Sonny Rollin’s Paul’s Pal on Spotify here and on Apple Music here.

I started a music WhatsApp group in 2023. I send one song a week on a Friday, with links to both Apple and Spotify, and an accompanying narrative/capsule piece. If you want to engage about a song, get a playlist or just get in touch, email me on markgrosin@gmail.com.

For more of Mark’s memorable track selections, go here.

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