Tenor saxophonist Sonny Rollins releases Sonny, Please -his first studio recording in five years - on Emarcy / Doxy Records, his own label. The album was released digitally on November 21, with the traditional CD release date set for January 23, 2007. The new CD captures his working band "at a good pitch," as he puts it. "Anytime you do a string of performances, it tightens up the ensemble, and the band was playing well-very high-powered." The album is a mix of Rollins originals and indelible standards, including the assertive title track which takes its name from "something my wife [Lucille] always used to say: `Sonny, Please!'" "Sonny is really playing on this record," concurs Clifton Anderson, Rollins's longtime trombonist who also served as the new CD's producer. "Each track has its own beautiful distinction, yet there's a clear continuity throughout the recording." In addition to Anderson, the group is comprised of bassist Bob Cranshaw, an esteemed Rollins collaborator since 1959; guitarist Bobby Broom and drummer Steve Jordan, both of whom had worked with Sonny on prior occasions in the 1980s; and the percussionist Kimati Dinizulu, who joined the band six years ago. Rollins won the Grammy in 2001 for This Is What I Do and again in 2005 for "Why Was I Born?" (from Without A Song -The 9/11 Concert), in the Best Jazz Instrumental Solo category. In addition, Sonny received a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences in 2004 and was inducted into the Academy of Achievement in 2006.

Now in his mid-70s, Sonny Rollins plays with undiminished passion on this, his first new studio recordings in five years. Sonny, Please also marks a turning point in Rollins's life: his wife died in 2004, and he soon thereafter departed Milestone Records to set up his own Doxy imprint, ending one of the longest artist-label relationships in jazz. Playing selections that date back to his youth (such as Noël Coward's "Someday I'll Find You," on which he rolls out melodic lines as if from a beautiful and endless spool) as well as his own originals, the set flows with the compelling vigor of a giant who carries himself with the utmost humility. A powerful soloist, Rollins has seen the years bring even more depth to his musical explorations. As part of a supple sextet, his lines dance around the trombone of Clifton Anderson (who also produced the set) with grace and invention. --David Greenberger