Sonny Simmons

Deprived of an interactive foil, a responsive rhythm section, Simmons’ solo musings are at a disadvantage, as there is no context in which his lines can establish a purposeful foothold and dig in. The results are mono-dynamic, a relentless mezzo forte with a sporadic forte thrown in with minimal developmental or emotional effect, and the same implied mid-tempo swing with sporadic rubato sections. To be sure, Simmons’ considerable, fluent technique and round, robust tone allows him to meander boppish-ly around original compositions. Jewels includes "Music Matador,” his "greatest hit,” which he recorded to great effect with his contemporary Eric Dolphy and which has been covered by no less than Paul Bley. "Matador” retains its playful, calypso feel as Simmons states, abandons, and returns to its hummable theme. But as with most of the tracks, it neither catches fire, nor does it explore anything particularly adventurous that the solo format would seem to call forth. His melodic and harmonic ideas are clearly conceived and executed, but are nonetheless conventional and unsurprising. Jewels reminds me of a busker playing on a street corner or subway stop to keep up his chops together while making a few bucks. Good playing, but not a major artistic statement.