95. Saxophone Colossus never left my shelf.
Their story
Walter Theodore "Sonny" Rollins was an American jazz tenor saxophonist, composer and bandleader, widely regarded as one of the most important and influential musicians in the history of jazz. Over a career of more than six decades he recorded more than 60 albums as a leader, wrote tunes such as…
Walter Theodore "Sonny" Rollins was an American jazz tenor saxophonist, composer and bandleader, widely regarded as one of the most important and influential musicians in the history of jazz. Over a career of more than six decades he recorded more than 60 albums as a leader, wrote tunes such as "St. Thomas", "Oleo", "Doxy" and "Airegin" that became jazz standards, and earned the nickname "Saxophone Colossus" after his celebrated 1956 album of the same name. He was often called "the greatest living improviser".
Rollins was born on September 7, 1930, in a tenement on 137th Street in Harlem, New York City, the youngest of three children of Walter Rollins, a naval steward, and Valborg (née Solomon), who came from what were then the Danish Virgin Islands. His grandmother Miriam Solomon, an activist who cared for him while his mother worked, gave him the nickname Sonny. He grew up in central Harlem and Sugar Hill surrounded by giants of Black American life, and as a teenager was mentored by Thelonious Monk. He started piano at nine, switched to alto saxophone at 11 after hearing Louis Jordan, and moved to tenor saxophone in 1946 under the spell of Coleman Hawkins. At Benjamin Franklin High School he played in a neighbourhood band with Jackie McLean, Kenny Drew and Art Taylor.
He began recording in 1949 and soon worked with J. J. Johnson, Bud Powell, Fats Navarro, Miles Davis, Charlie Parker, the Modern Jazz Quartet and Monk. His early years were also marked by trouble: in 1950 he served ten months on Rikers Island after an armed robbery arrest, and he struggled with heroin addiction until 1955, when he entered the Federal Medical Center in Lexington, Kentucky, volunteered for then experimental methadone treatment and got clean. In 1954 he brought "Oleo", "Airegin" and "Doxy" to a Miles Davis session, and all three became standards.
After a spell in the Clifford Brown and Max Roach quintet, Rollins began leading his own records. Saxophone Colossus, recorded on June 22, 1956, at Rudy Van Gelder's studio with Tommy Flanagan, Doug Watkins and Max Roach, included the calypso "St. Thomas", based on a tune his mother sang to him, and the long blues "Blue 7", which composer Gunther Schuller analysed in a famous 1958 essay. The album was later added to the Library of Congress National Recording Registry. That same year he recorded Tenor Madness, his only recording with John Coltrane. In 1957 he pioneered the piano-less trio with Way Out West and A Night at the Village Vanguard, and in 1958 he recorded Freedom Suite, an extended piece whose liner notes protested the persecution of Black Americans.
At the height of his fame in 1959, dissatisfied with his own playing, Rollins stepped away from performing. For more than two years he practised, often 15 or 16 hours a day, on the pedestrian walkway of the Williamsburg Bridge so as not to disturb a pregnant neighbour. He returned in November 1961 and named his 1962 comeback album The Bridge, recorded with guitarist Jim Hall; it became one of his best-selling records. Through the 1960s he kept reinventing himself, recording with Don Cherry, Coleman Hawkins and Herbie Hancock and writing the score for the 1966 film Alfie. A second sabbatical from 1969 to 1971 took him to Jamaica and to an ashram in India, where he studied yoga, meditation and Eastern philosophy.
From the 1970s Rollins recorded for Milestone Records, embraced R&B and funk rhythms, and became renowned for his long unaccompanied cadenzas and his marathon concert solos. He played uncredited saxophone on the Rolling Stones' 1981 album Tattoo You, including "Waiting on a Friend". His wife Lucille, whom he married in 1965, became his manager and later co-producer. Later albums won him Grammy Awards, including This Is What I Do (2000) and the solo on "Why Was I Born?" from Without a Song: The 9/11 Concert, recorded in Boston four days after he was evacuated from his apartment near the World Trade Center carrying only his saxophone.
Among his many honours were the NEA Jazz Masters fellowship (1983), the Grammy Lifetime Achievement Award (2004), the Polar Music Prize (2007), the National Medal of Arts presented by President Barack Obama, the Edward MacDowell Medal (2010) and the Kennedy Center Honors (2011). Pulmonary fibrosis ended his performing career; he gave his last concert in 2012 and announced his retirement in 2014. In retirement he donated his archive to the Schomburg Center, endowed a jazz ensemble fund at Oberlin College, and in 2024 saw his private notebooks published as The Notebooks of Sonny Rollins.
Rollins died at his home in Woodstock, New York, on the afternoon of May 25, 2026, at the age of 95. No specific cause of death was announced; his publicist said he had been largely housebound for the previous couple of years because of various physical problems. Tributes described him as the last of jazz's golden age giants and a musician who redefined the language of the music through improvisation.
Biography adapted from Wikipedia (CC BY-SA 4.0); AP, The Guardian, BBC, NYT obituaries. Wikipedia ↗
In their own words
“It was an extraordinary environment. We were surrounded by giants of the black community.”
On growing up in Harlem
“How ironic that the Negro, who more than any other people can claim America's culture as his own, is being persecuted and repressed; that the Negro, who has exemplified the humanities in his very existence, is being rewarded with inhumanity.”
Liner notes to Freedom Suite, 1958
“I could have probably spent the rest of my life just going up on the bridge. I realized, no, I have to get back into the real world.”
On ending his Williamsburg Bridge sabbatical in 1961
“We must remember that music is one of the beautiful things in life, so we have to try to keep the music alive in some kind of way. Maybe music can help; I don't know, but we have to try something these days.”
To the audience at Berklee Performance Center, Boston, September 15, 2001
“Sometimes I'm surprised by what comes out.”
Interview with PBS on improvising
“You have to live by the Golden Rule.”
On endowing the Sonny Rollins Jazz Ensemble Fund at Oberlin College, 2017
“I think when the creative person ends, he continues in the next existence. I'm a person who believes this life isn't the be-all and end-all of everything. A spiritual person doesn't feel like that.”
Quoted in the statement announcing his death, May 2026

From social media
6Posts by Sonny, and posts about them, kept here so they are not lost.