1. Sonny, Please 
        2. Someday I’ll Find You 
        3. Nishi 
        4. Stairway to the Stars 
        5. Remembering Tommy 
        6. Serenade 
        7. Park Palace Parade  
          
        Sonny Rollins – Tenor sax 
        Clifton Anderson – Trombone 
        Bobby Broom – Guitar 
        Bob Cranshaw – Electric and acoustic bass 
        Steve Jordan – Drums (tracks 1-5, 7) 
        Kimati Dinizulu – Percussion 
        Joe Corsello – Drums (track 6) 
          
        
A 
          new album from Sonny Rollins is an event, 
          especially now that he is well into pensioner 
          status. He is a phenomenon on the tenor sax 
          and, even though he doesn’t come from Texas, 
          he has that full-bodied tone that characterises 
          Texan tenorists. He mixes this with Coltrane-like 
          wildness, salted with some jokey quotations. 
          
        
 
        
He 
          is also a considerable composer and he wrote 
          four of the tunes on this CD, starting with 
          the title-track. It is based on a syncopated 
          triplet riff, and Sonny’s playing is astonishing 
          in its power. By contrast, trombonist Clifton 
          Anderson sounds quite restrained but he makes 
          a perfect foil for Rollins, combining with 
          him as a mellifluous front-line pairing. Guitarist 
          Bobby broom plays some tasteful solos, while 
          bassist Bob Cranshaw plays absolutely straight, 
          laying down a solid foundation on which Sonny 
          can build his intricate constructions. Steve 
          Jordan contributes some electrifying drumming, 
          breaking up the beat to add extra spice. 
        
 
        
I 
          love the way that Rollins plays ballads, with 
          a sort of tough tenderness. He chooses unhackneyed 
          tunes like Noel Coward’s Somewhere I’ll 
          Find You and treats them with respect, 
          adding occasional touches of affectionate 
          humour. All his ballad performances contain 
          a vein of tender lyricism. 
        
 
        
Rollins’ 
          original Remembering Tommy is particularly 
          catchy, and on Nishi (another of his 
          compositions) he makes the saxophone growl 
          and grunt as if he’s playing rhythm-and-blues, 
          ending with a berserk outbreak reminiscent 
          of Roland Kirk. The album ends in calypso 
          mood, with the sort of Caribbean atmosphere 
          that Rollins helped to popularize in jazz. 
          Anderson’s muted trombone flutters attractively, 
          and Rollins makes a naughty allusion to Swanee 
          River! 
        
 
        
Every 
          Rollins performance sounds exploratory – avoiding 
          easy clichés and keeping the listener 
          alert because you never know what’s going 
          to happen. Sonny, please – keep on playing 
          with this level of inspiration, preferably 
          for ever! 
        
 
          Tony Augarde