“Sonny’s Dream (Birth of the New Cool)”: A Dynamic Intersection of Hard Bop and Big Band Jazz

Introduction:

Sonny Criss’ album “Sonny’s Dream (Birth of the New Cool),” released in 1968, stands as a significant artistic achievement in both the alto saxophonist’s career and the evolution of modern jazz. With its captivating fusion of hard bop and big band arrangements, the album showcases Criss at his peak, supported by an innovative and intricate nonet arrangement by Los Angeles jazz icon Horace Tapscott. It offers an exhilarating and deeply emotional listening experience, one that simultaneously preserves the authenticity of traditional jazz while pushing the boundaries toward new creative directions.

The Context: Sonny Criss and Horace Tapscott

By the time Sonny Criss recorded “Sonny’s Dream (Birth of the New Cool),” he had already established himself as a master of the alto saxophone, known for his bold, high-energy style. Criss had worked with legendary musicians such as Charlie Parker, Dexter Gordon, and Billy Eckstine throughout his career, but his voice as a soloist continued to evolve. This album, however, marked a departure from his usual smaller ensemble settings. The big band format and Horace Tapscott’s daring compositions gave Criss a platform to explore new territory, fusing his powerful improvisations with lush, complex arrangements.

Tapscott, a pivotal figure in the Los Angeles jazz scene, was a pianist, composer, and bandleader best known for his work with the Pan-Afrikan Peoples Arkestra. He was a champion of avant-garde jazz, and his forward-thinking compositions made him a sought-after collaborator. In “Sonny’s Dream (Birth of the New Cool),” Tapscott created arrangements that brought out the full spectrum of Criss’ alto saxophone tone while weaving in the textures and colors of a larger nonet ensemble.

Track Analysis:

The six original compositions on the album, all penned by Tapscott, offer a wide range of moods and showcase the synergy between Criss’ soloing and the nonet’s orchestration. The tracks range from reflective ballads to high-intensity explorations, each revealing the complex interplay between individual voices within the band.

1. “Sonny’s Dream” (7:33) – The album opens with the title track, “Sonny’s Dream,” an ambitious piece that immediately immerses the listener in a rich, orchestral landscape. Tapscott’s arrangement allows Criss to soar above the ensemble with his alto saxophone, executing dazzling runs and exploring a wide emotional range. The piece shifts between intricate melodic lines and spacious harmonic interludes, reflecting the album’s overarching theme of blending the old with the new. Criss’ solo here is powerful and emotional, capturing the essence of the “dream” in question — a vision for a new kind of jazz expression.
2. “Ballad for Samuel” (4:22) – In contrast to the exuberance of the opening track, “Ballad for Samuel” is a tender and introspective piece. Criss delivers a heartfelt performance, his alto saxophone evoking deep melancholy and reflection. The arrangement here is sparse, allowing the listener to focus entirely on the expressive nuances of Criss’ playing. The support from the rhythm section, particularly Tommy Flanagan on piano and Al McKibbon on bass, adds subtle but effective harmonic depth.
3. “The Black Apostles” (5:52) – One of the standout tracks on the album, “The Black Apostles,” has a cinematic quality. It feels like a narrative unfolding in real time, with Criss playing the role of the storyteller. The piece starts with a haunting motif, soon building into a high-energy, almost chaotic interplay between the saxophone and the ensemble. Tapscott’s arrangement channels a collective urgency, and Criss responds with some of his most impassioned playing on the album. The contrast between the rhythmic drive and the melodic invention in this piece is a perfect example of Tapscott’s ability to marry structure and freedom.
4. “The Golden Pearl” (5:10) – “The Golden Pearl” offers a moment of respite with its serene and lyrical character. Here, Criss’ playing is more relaxed but no less precise, his phrasing rich with emotion and clarity. Tapscott’s arrangement gives the piece a chamber music-like feel, with each instrument playing a defined role in the overall texture. The balance between melody and harmony is impeccable, making “The Golden Pearl” one of the album’s most elegant tracks.
5. “Daughter of Cochise” (7:34) – Drawing from a theme of resilience and legacy, “Daughter of Cochise” is an energetic tribute to Native American culture and spirit. The driving rhythms and bold horn arrangements underscore the piece’s sense of determination and strength. Criss uses this platform to explore more angular and daring improvisations, demonstrating his technical prowess and emotional range. The piece is a tour-de-force, with each member of the ensemble contributing to its vibrant and intense atmosphere.
6. “Sandy and Niles” (5:26) – The album closes with “Sandy and Niles,” a swinging, playful tune that contrasts the intensity of earlier tracks. Criss is at his most light-hearted here, weaving through the melody with fluid ease. Tapscott’s arrangement allows for a conversational exchange between the brass and woodwinds, offering a satisfying conclusion to the album’s diverse and intricate soundscape.

The Supporting Cast:

The personnel on “Sonny’s Dream (Birth of the New Cool)” reads like a who’s-who of top-tier jazz musicians from the Los Angeles scene in the 1960s. Trumpeter Conte Candoli and trombonist Dick Nash anchor the brass section with their powerful and melodic playing. Teddy Edwards on tenor saxophone, Pete Christlieb on baritone saxophone, and Ray Draper on tuba round out the horn section, providing a rich and varied sonic palette. Pianist Tommy Flanagan, bassist Al McKibbon, and drummer Everett Brown Jr. offer a tight and responsive rhythm section that gives Criss the freedom to explore without ever losing the drive and pulse of the music.

Horace Tapscott’s Vision:

While “Sonny’s Dream (Birth of the New Cool)” is undoubtedly a showcase for Sonny Criss’ extraordinary talents, it is equally a testament to Horace Tapscott’s visionary approach to composition and arrangement. Tapscott was deeply committed to community-based music, often collaborating with local musicians and creating works that reflected the social and cultural landscape of Los Angeles, particularly the African American experience. His arrangements on this album are not merely backdrops for Criss’ solos but are integral to the overall narrative and emotional arc of the music.

The album’s subtitle, “Birth of the New Cool,” suggests a forward-looking aesthetic that builds on the cool jazz traditions of the 1950s while incorporating the freer, more experimental tendencies of the 1960s. In this way, the album can be seen as both a tribute to the past and a blueprint for the future of jazz.

Reception and Legacy:

“Sonny’s Dream (Birth of the New Cool)” received critical acclaim upon its release, and it remains a highly regarded album in both Criss’ discography and the broader jazz canon. AllMusic reviewer Scott Yanow awarded the album four stars, praising both Criss’ exceptional playing and Tapscott’s innovative arrangements. The Penguin Guide to Jazz Recordings included it in its “Core Collection,” underscoring its lasting importance as a jazz masterpiece.

The album’s significance lies not only in the individual performances of Criss and the ensemble but also in its representation of a moment in jazz history when the music was expanding in all directions. It bridged the gap between the structured, melodic sensibilities of cool jazz and the avant-garde, boundary-pushing experimentation that defined the late 1960s.

“Sonny’s Dream (Birth of the New Cool)” is an essential album for jazz enthusiasts and an important document of the creative forces shaping the music in the late 1960s. The collaboration between Sonny Criss and Horace Tapscott resulted in a work that is both timeless and forward-thinking, a perfect encapsulation of the “new cool” that would continue to influence generations of musicians. Criss’ emotive playing, combined with Tapscott’s visionary arrangements, makes this album a must-listen for anyone interested in the evolution of jazz as an art form.

References:

1. Cook, R. & Morton, B. (2008). The Penguin Guide to Jazz Recordings. Penguin Books.
2. “Sonny’s Dream (Birth of the New Cool)” album cover art. Retrieved from https://en.wikipedia.org/wiki/File:Sonny%27s_Dream.jpg