Requisites
Rollins Plays For Bird ~ Sonny Rollins Quintet With Kenny Dorham and Max Roach | By Eddie Carter
On May 25, 2026, the jazz world lost a true legend, Sonny Rollins, who passed away at the age of 95. Today’s discussion is one of my favorites by the tenor saxophonist, which doesn’t get talked about as much. In 1956, he went into the Van Gelder Studios and recorded three albums: Saxophone Colossus, Tenor Madness, and this morning’s album submitted for your approval, Rollins Plays For Bird (Prestige PRLP 7095). In this tribute to Charlie Parker, the tenor saxophonist is joined by Kenny Dorham on trumpet, Wade Legge on piano, George Morrow on bass and Max Roach on drums. The copy I own is the 2021 Analogue Productions U.S. mono audiophile-remastered reissue, sharing the original catalog number from The Prestige Mono Series.
Side One gets underway with the side-long Bird Medley. Rollins and Legge’s introduction leads into I Remember You by Victor Schertzinger and Johnny Mercer. After establishing an easy groove in the melody, Sonny is the dominant presence here and plays in the opening solo with authority. He and Max have a brief conversation before Legge changes gears to My Melancholy Baby by Ernie Burnett and George A. Norton. Dorham takes the lead during the melody and the first solo, delivering a remarkably disciplined performance. The trumpet shares a brief spotlight with Roach, leading to Wade taking center stage as the trio shines on the melody of Old Folks by Willard Robison and Dedette Lee Hill. Wade opens with a charming solo, then he and Max exchange ideas briefly before the ensemble moves into the next song.
Rollins returns as the Bird Medley continues with They Can’t Take That Away From Me by George and Ira Gershwin. The quartet lets us know we’re in for a treat with a bright theme, then Rollins steps into the opening statement with a passionately playful solo. He again shares a well-executed conversation with Roach, before Dorham gets his second turn in the spotlight with Just Friends by John Klenner and Sam A. Lewis. The trumpeter is merry and playful on the melody, and glides with ease in the opening solo. Dorham and Roach get together again in a gentle swing ahead of the trio’s second appearance to present My Little Suede Shoes by Charlie Parker. Legge gets things off to a good start with an opening presentation that soothes the soul and eases the mind, preceding his short exchange of riffs with Roach into the close.
The medley’s longest tune, Star Eyes by Don Raye and Gene DePaul, concludes the first side. The rhythm section brings the song to life, segueing into the opening ensemble. Sonny’s with effervescent enthusiasm is sure to have your fingers snapping and toes tapping. Kenny follows with a solo that’s nearly a scene-stealer, then Wade takes over with a captivating presentation. Sonny, Max, and Kenny share their thoughts, driving straight into the theme’s reprise and fadeout. Side Two opens with the quintet’s leisurely introduction and theme of Kids Know by Sonny Rollins. Sonny steps out first with an almost stately solo. Kenny comes next with a relaxing reading that flows effortlessly, then Wade steps in with a laid-back statement. The front line shares a few moments with Max before the drummer wraps up everything ahead of the finale.
The group slows the pace down for I’ve Grown Accustomed To Your Face by Alan Jay Lerner and Frederick Loewe. The quartet opens with an intensely personal melody. Sonny’s opening solo is filled with sensitive warmth, and then Wade maintains the loveliness in the next performance with simple, effective empathy. Sonny punctuates the solos with a few final thoughts, leading to a restatement of the theme and a gentle ending. It’s a strong summation of an album that sparkles with marvelous music throughout, exciting, evocative solos, and exceptional performances by the Sonny Rollins Quintet. Bob Weinstock supervised the initial session, and Rudy Van Gelder managed the recording console. Kevin Gray mastered the reissue, and its sonics are sensational, with crystal-clear sound across the highs, midrange, and bass.
The front cover of this AP reissue is a deluxe high-gloss, tip-on album jacket. The vinyl is a 200-gram pressing by Quality Record Pressings and is dead silent until the music starts. Sonny Rollins was a celebrated jazz tenor saxophonist who is regarded as one of the most influential musicians in jazz history. Most self-taught, Rollins joined a high school band where he performed with classmates who would also become prominent jazz figures. Over his career spanning 70 years, Rollins released more than 60 albums as a leader and contributed to 26 releases as a sideman. He was called “the greatest living improviser,” and was the final surviving member among 57 iconic jazz musicians featured in the 1958 photograph, A Great Day in Harlem.
Throughout Rollins Plays For Bird, Sonny Rollins and company demonstrate remarkable technical skill and a profound appreciation for Charlie Parker’s influence. The album stands out not only as a heartfelt homage but also as a platform for each musician’s individual artistry. Sonny Rollins commands the session with confidence, Kenny Dorham contributes lyrical elegance, and Max Roach provides a steady, energetic foundation. If you’re already a fan or just beginning to discover his artistry, I invite you to check out Rollins Plays For Bird by the Sonny Rollins Quintet. It’s an overlooked gem, perfect for any time of day or when the house is quiet after a long day or week, and it should make a welcome addition to any jazz library!
~ Saxophone Colossus (Prestige PRLP 7079), Tenor Madness (Prestige PRLP 7047) – Source: Discogs.com ~ I Remember You, Just Friends, My Melancholy Baby, Old Folks, Star Eyes, They Can’t Take That Away From Me – Source: JazzStandards.com ~ I’ve Grown Accustomed To Your Face – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Herbie Fields was born May 24, 1919 in Asbury Park, New Jersey and attended Juilliard School of Music. He served two years in the Army during WWII until 1943. He began recording in 1944 with two sides for Bob Thiele’s Signature label and over the next year and a half he recorded for Savoy, and shared a date with “Rubberlegs” Williams that featured teenaged Miles Davis’ recording debut.
Fields replaced Earl Bostic as alto saxophonist in Lionel Hampton’s band and was fluent in a variety of reed instruments, from clarinet to baritone saxophone. In 1945, he won Esquire Magazine’s New Star Award on the Alto Sax. In 1946, RCA Victor signed Fields as leader of his own big band.
Herbie would lead the big band with sidemen Neal Hefti, Bill Evans, Eddie Bert, Manny Albam, Marty Napoleon and Serge Chaloff among others and Dardanella was their biggest hit. He formed a septet in 1949 based in Chicago that backed numerous stage shows and in 1950 accompanied Billie Holiday 3-month East Coast tour.
Fields gravitated toward an R& B conception in the Fifties without success and recorded sporadically. He moved to Miami, Florida, opened a restaurant and on September 17, 1958 alto saxophonist Herbie Fields died of an overdose of sleeping pills at his home.
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Ken Peplowski was born May 23, 1959 in Cleveland, Ohio. He began playing clarinet and saxophone in Polish polka bands as a child and played his first professional gig while still in elementary school. With his trumpeter brother they played local radio and television shows, dances and weddings all through high school. By his teens Ken was experimenting with jazz, playing in the school bands, jamming with the local jazz musicians and teaching at the local music store.
After a year of college, he joined the Tommy Dorsey Orchestra under the direction of Buddy Morrow. It was during this time that he met Sonny Stitt who became a great inspiration. In 1980 Peplowski moved to New York City and played from Dixieland to avant-garde jazz. He would work for Benny Goodman, recorded some 20 albums for Concord Records, toured around the world, recorded film soundtracks and most recently signed with Nagel-Heyer Records.
His collaborations include Mel Tormé, Leon Redbone, Charlie Byrd, Peggy Lee, Madonna, George Shearing, Hank Jones, Rosemary Clooney, Tom Harrell, James Moody, Cedar Walton, Houston Person, Steve Allen and Woody Allen among others. Jazz clarinetist and saxophonist Ken Peplowski continues to perform, tour, record, conduct student workshops, has been named the jazz advisor for the Oregon Festival of American Music and music director at the Jazz Party at the Shedd.
Clarinetist and tenor saxophonist Ken Peplowski passed away quietly in his cabin on February 2, 2026 while participating in the Jazz Cruise aboard the Celebrity Summit sailing in the Gulf of Mexico.
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Charles Davis was born on May 20, 1933 in Mississippi but was raised in Chicago, Illinois. Graduating from DuSable High School he continued his musical study of the saxophone at the Chicago School of Music and privately under John Hauser. In the 1950s he played in the bands of Billie Holiday, Ben Webster, Dinah Washington and extensively with Sun Ra and Archie Shepp. He teamed up with Kenny Dorham, performing and recording for many years together.
An accomplished tenor and alto saxophonist, Charles was widely known for his baritone, winning Downbeat Magazine’s 1964 International Jazz Critics Poll for the baritone saxophone. Throughout his career he would perform in the musical production of “The Philosophy of The Spiritual – A Masque of the Black”, teach public school in Brooklyn, the Jazzmobile Workshop and at the New School, be the musical director of The Turntable, a nightclub owned by Lloyd Price, and tour Europe several times.
Davis would be a member of the cooperative group “Artistry in Music” with Hank Mobley, Cedar Walton, Sam Jones and Billy Higgins, and was the co-leader and composer/arranger for the Baritone Saxophone Retinue. His numerous collaborations, performances and recordings both as a leader and sideman with a who’s who of his contemporaries such as Elvin Jones, Jimmy Garrison, Illinois Jacquet, Freddie Hubbard, Johnny Griffin, Steve Lacy, Ahmad Jamal, Blue Mitchell, Erskine Hawkins, John Coltrane and Clifford Jordan among many others. Alto, tenor and baritone saxophonist Charles Davis continued to enjoy a prolific career until his passing on July 15, 2016.
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Virginia Mayhew was born on May 14, 1959 in San Francisco, California and took up the saxophone as a child. Early in her career she worked with trombonist Al Grey and contributing arrangements for several recordings. In 1987 she became active on the New York jazz scene, playing with the likes of Earl “Fatha” Hines, Junior Mance, Toshiko Akiyoshi, Doc Cheatham, Joe Williams, Kenny Barron, Ingrid Jensen, Chico O’Farrill and the list continues.
She has performed all over the world in concert and festivals, and has twice been a U.S. Jazz Ambassador. Mayhew would go on to work with Brazilian trumpeter Claudio Roditi, become a member of the Howard Williams Big Band, Carl Thompson and Friends, and the Lou Caputo “Not So Big Band” in conjunction with freelancing around New York.
Virginia is currently the Musical Director and saxophonist of the 9-piece Duke Ellington Legacy group, leads her own quartet and septet, recorded and released a Mary Lou Williams project featuring Wycliffe Gordon, and is working on a project that replaces drums with tap dancing.
As an educator she teaches privately, is on the faculty of the summer jazz camps at Stanford Jazz Workshop, Monterey Jazz Festival, Litchfield Jazz Camp along with conducting clinics at U-Mass, University of Louisville, Bloomington University, Williams College among others. She has worked with Don Braden’s “Jazz For Teens” and Melissa Walker’s “Jazz House Kids”. Tenor saxophonist Virginia Mayhew continues to perform, compose, arrange, adjudicate and teach and establish the “Jazz Workshop” at the Greenwich House Music School in New York City.
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