The master of the bass saxophone, Adrian Rollini was very busy during the second half of the 1920s, appearing on a countless number of sessions, being the main inspiration (along with Coleman Hawkins) for baritonist Harry Carney, and playing with such power and creativity that he was widely considered to be one of the top jazz musicians of the decade. With the onset of the Depression and (by 1935) the swing era, Rollini was a bit out of place. His playing was modern enough, but the bass sax was considered largely extinct, ...
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The master of the bass saxophone, Adrian Rollini was very busy during the second half of the 1920s, appearing on a countless number of sessions, being the main inspiration (along with Coleman Hawkins) for baritonist Harry Carney, and playing with such power and creativity that he was widely considered to be one of the top jazz musicians of the decade. With the onset of the Depression and (by 1935) the swing era, Rollini was a bit out of place. His playing was modern enough, but the bass sax was considered largely extinct, replaced by both the baritone and the string bass. Rollini, who was always a multi-instrumentalist, gradually shifted his focus toward the vibraphone, where his only contemporary was Lionel Hampton (who emerged in mid-1936). Rollini's vibes playing had a novelty feel and was never as soulful or as vital as his work on bass sax, but it allowed him to stay active for another decade. 1934-1938 (which actually stops in the spring of 1937) features Rollini during this transitional period, featuring all of the dates that he led at the time. The most famous session is comprised of five titles from 1934 with a tentet that includes trombonist Jack Teagarden and clarinetist Benny Goodman. Rollini is also heard on an intriguing session with his "Tap Room Gang" that has vocals on various tracks by Wingy Manone, Putney Dandridge, Jeanne Burns, and Nappy Lamare along with some fine playing. In addition, Rollini is featured on two selections taken from radio appearances, at the head of a septet that has some fine Irving Goodman trumpet, with a sextet that co-stars trumpeter Jonah Jones and singer Red McKenzie, and on four vibraphone features with his regularly working trio of 1936-1937. There would only be one further session on bass sax (in 1938) for from this point on, Rollini concentrated on vibes, a major loss for jazz. 1934-1938 is full of rarities and will be enjoyed equally by 1920s collectors and fans of swing combos. ~ Scott Yanow, Rovi
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Add this copy of Adrian Rollini: 1934-1938 to cart. $12.62, good condition, Sold by Goodwill of Colorado rated 5.0 out of 5 stars, ships from COLORADO SPRINGS, CO, UNITED STATES, published 2011 by Retrieval Recordings.
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