John Coltrane and Sonny Rollins shared a tight bond. They frequently practiced together, honed their skills, and performed alongside Miles Davis during the mid-50s. Sonny told me that they also enjoyed lifting weights together, and exchanging books with a spiritual orientation. Despite their camaraderie, they only had the opportunity to record together once, resulting in the title track of the iconic album, "Tenor Madness."
Trane wrote Like Sonny for his friend. As Aidan Levy notes in Saxophone Colossus, his superb biography of Sonny Rollins, “The tune was more than just ‘like’ Sonny; it was lifted directly from Sonny's solo on My Old Flame on Kenny Dorham's recording Jazz Contrasts.”
John Coltrane laid down his composition Like Sonny during his inaugural recording session for Giant Steps, his Atlantic Records debut LP, on March 26, 1959. The lineup for this initial endeavor featured John Coltrane on tenor saxophone, Cedar Walton on piano, Paul Chambers on bass, and Lex Humphries on drums. Despite this early recording, Like Sonny did not make it onto Giant Steps, which was released in February 1960.
Like Sonny was re-recorded on December 2, 1959, featuring John Coltrane on tenor saxophone, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. This rendition found its place on Coltrane Jazz, the saxophonist's second Atlantic album, which hit the shelves in February 1961.
The following year, on September 8, 1960, Coltrane recorded Like Sonny again, this time with McCoy Tyner on piano, Steve Davis on bass and Billy Higgins on drums. Somehow, the session was released on Morris Levy’s Roulette Records, with the composition renamed Simple Like, probably because Levy wanted the publishing from the composition. The mafia based club owner did this frequently, much to the dismay of many musicians. But Levy had a reputation, keeping a baseball bat in his office for anyone who got out of line.
On June 24, 1964, the classic John Coltrane Quartet recorded Like Sonny one last time as part of the soundtrack for a Canadian film, Le chat dans le sac. Director Gilles Groulx was friends with Jimmy Garrison and he used that relationship to request songs for Coltrane's quartet to record. Groulx traveled to the United States to attend the recording sessions and Coltrane recorded it without informing his record label. After three hours in the studio, Groulx took the master tapes with him to Canada.
The recordings were stored away until the early 21st century, when an archivist from the National Film Board of Canada was tasked with assembling Groulx's work. The government agency negotiated with Impulse! Records to have the album released. Release was delayed by several years due to the NFB owning the rights to the tape itself but Impulse! having the rights to release it as an album, Blue World was released on August 16, 2019, John Coltrane’s only movie soundtrack.
Along with the recording Coltrane did, I’ve included a trailer produced by Canadian television. It’s in French, but will give you a taste of how Trane’s music was used in the film.
The Quartet played Like Sonny in several live performances but the composition was never recorded live. There is a bootleg recording of a performance by the Quartet at the Jazz Gallery on June 27, 1960 with Steve Kuhn on piano, which hopefully will surface one day.
Played By Other Musicians
Ray Barretto and his New World Spirit, featuring saxophonists Joe Lovano and Adam Kolker, pianist John DiMartino and both Ray and Bobby Sanabria on percussion and drums.
From a John Coltrane Tribute at the Village Vanguard in 1997, the superb alto saxophonist Antonio Hart, who has been recognized for his versatility and creativity, drawing influences from classic jazz styles while incorporating modern elements into his playing.
An excerpt of the composition from John Coltrane week at Birdland in 2007 featuring Joe Lovano and Ravi Coltrane on tenor saxophones; Steve Kuhn, piano; Lonnie Plaxico on bass and the great Andrew Cyrille on drums. Interestingly, Steve Kuhn was Trane’s first pianist in his Quartet, before McCoy Tyner.
When I filmed this video, I was working on Joe's website and collaborating on several video projects with him. Joe's deep respect and fascination for the Jazz Masters are integral aspects of his life. I can report that Joe is also one of the most generous people I know.
Brett, What a great presentation you have shared with us. Bravo! You are the best!
Morris Levy was worse than I knew.