Jazz Notes: A Sonny Day for Mr. Rollins, in every sense of the word

It was a special day, and one could feel it in the air, a serene second summer breeze that made me smile on my way to the celebration for the great Sonny Rollins, the saxophone colossus. (Rollins died at 95 on May 25, 2026). He was our mentor and sage. He treated us like his own students, embraced us with love, guidance and understanding, and blessed us with his Sonny-isms.

Each performance and reflection shared by musicians and commentators who took the mic on this memorable day at the Cathedral of St. John the Divine, presented by the Jazz Foundation of America, extended warm feelings, many of them equal to what this wonderful giant of a man and genius musician had shared with them — memories never to be forgotten.

I have never seen that many saxophonists in one place in my life, but for Sonny they filled the pulpit. A photographer said a photo was taken of them performing, comparing it to Art Kane’s “A Great Day in Harlem” in 1958, in which Sonny was among the notables assembled. So it seems this special photo was not a mishap but an omen, one that Sonny conceived and directed from heaven. Maybe it will hang on walls and document yet another rare moment in jazz history.

I was dressed in my Sunday best, but of the thousands who attended (the church capacity is over 4,000), many were dressed casually, from shorts and sandals to jogging suits. Sonny never cared about his audience’s appearance, just about the best show he could present. After a welcoming address from The Very Reverend Winnie Varghese, more than 50 musicians rose to the occasion, beginning with a sizzling solo by Joe Lovano on “Alfie’s Theme.” “I was truly honored that Clifton Anderson [Sonny’s nephew and the trombonist who curated the event] chose me to do this song,” Lovano said. His orchestral backing included a formidable trumpet section, featuring Eddie Henderson, Jon Faddis and Charles Tolliver, with Gene Ghee, Ron Blake and Gary Bartz manning the saxophones. The stellar trombone section included Steve Turre and Anderson. Pianist George Cables, guitarist Bobby Broom, and the ubiquitous bassist Rufus Reid provided the rhythm. Billy Hart and Steve Jordan kept the drum beat busy and vibrant.

Mark Ruffin, the notable jazz broadcaster on Sirius/XM Satellite, hosted the show and briefly introduced a video in which Sonny’s sister Gloria Rollins Anderson (Clifton’s mother) spoke intimately about Sonny’s birth and his early determination to play the saxophone.

For the opening numbers, bassist Reid provided the rhythmic bottom for solos by Bartz and Henderson on “Oleo,” accompanied by pianist Bill O’Connell and drummer Lenny White. There was a pleasant interlude from Charles Lloyd on video, commenting on Sonny’s magic, followed by equally compelling remarks from Bennie Maupin.

“Tenor Madness” featured an array of saxmen — Harlem’s Bill Saxton and Patience Higgins, Craig Handy, the ever-ebullient James Carter, Javon Jackson, and Melissa Aldana. Applying plenty of heat on the beat were Billy Drummond on drums, Mark Soskin on piano, and Avery Sharpe on bass. Yoshiaki Masuo’s guitar added the delightful sparks.

Camille Thurman delivered “I’m An Old Cowhand” with Sonny-like notes, recalling his rhythmic incantations. She was joined and supported by Kenny Davis on bass and Tommy Campbell on drums. Pulitzer Prize winner Henry Threadgill improvised with both his words and his horn, melodically conveying his love and respect.

On Sonny’s outstanding “Freedom Suite,” Javon Jackson heeded the call, while drummer Billy Hart and bassist Davis underscored his cry for liberation. Trumpeter Charles Tolliver adeptly handled “East Broadway Run Down,” with Avery Sharpe on bass and Jeff “Tain” Watts on drums. Accompanied by guitarist Bobby Broom, Reid, and drummer Lenny White, tenor saxophonist Chris Potter was as powerful as he was impressionistic in his treatment of “The Bridge.”

The indomitable George Braith on his unique soratto Braithophone horns spun an intriguing interpretation of “Lover,” with Ben Meigners on bass and Darrell Green on drums. Pianist Rodney Kendrick set the pace and tone on “Sonny Says,” offering his own commentary with Anderson and Handy on horns and drummers Victor See Yuen and Ronnie Burrage, with bassist Russel Blake. Whether with words or on his tenor saxophone, Eric Wyatt was profound and articulate, providing the “Golden Rule” with a special elegance.

After a short video presentation from Terence Blanchard, emphasizing Sonny’s importance to jazz history, the event closed with a rousing “Global Warming/Don’t Stop the Carnival/St. Thomas,” as if taking the middle title as an instruction, even in the house of St. John the Divine. The ever-present Clifton Anderson, Wyatt, and several of the previous saxmen, along with Steve Jordan on drums, burnished three of Rollins’ popular tunes; Monty Alexander on piano; percussionists Sammy Figueroa and See Yuen; and guitarist Yoshiaki Masuo completed the ensemble.

René McLean didn’t serenade with his horn, but he and his mother, Clarice “Dollie” McLean, offered poignant history about their relationship with Sonny. Jason Moran, Bob Blumenthal, Denardo Coleman, Joe Petrucelli, James Brandon Lewis, Sonny’s biographer Aidan Levy, and Wendy Oxenhorn also shared words of praise for Sonny. State Senator Cordell Cleare arrived with a resolution for Sonny and his family, and thanked the Jazz Foundation of America.

It’s an understatement to say it was a lengthy program, though it was also an invigorating one, and equal to a long solo by Rollins. In every sense of the word, it was a Sonny Day.