The Notebooks of Sonny Rollins

Overview

This book, “The Notebooks of Sonny Rollins,” edited by Sam V.H. Reese, offers a unique window into my lifelong search for mastery as a musician, artist, and human being. These annotated selections from my personal journals trace the evolution of my musical thinking, from the “bridge years,” where I practiced on the Williamsburg Bridge in search of a deeper understanding of myself and my music, to my later career where I reflected on my legacy and what my music might contribute to the world. The book focuses on several key themes: the pursuit of what I called “mastership” as a musician and artist; a commitment to self-reflection and self-improvement; the importance of music as a social force that can break down artificial barriers of race, ethnicity, and class; a deep and abiding interest in Eastern spiritual traditions as a source of personal and artistic growth; and the value of discipline and resilience in the face of challenges and self-doubt. It is aimed at music fans, jazz aficionados, and musicians interested in learning more about the creative processes, aspirations, and influences of a major jazz innovator. Beyond this immediate audience, my notebooks also reveal some of the broader social and cultural currents that have shaped not just jazz but American culture from the late 1950s to the present day. My reflections on the impact of race relations, commercialization, politics, and technology on society resonate with many of the challenges and anxieties we face today. They reveal a critical awareness of the broader forces that shape the possibilities for artistic creation and social good in the world. The format of the book itself – a selection from personal notebooks, annotated by an editor – is intended to offer readers a different kind of access to the life and work of an artist. It resists some of the typical tropes of artist biographies and memoirs, emphasizing process over product, thought in motion over carefully crafted narrative. For scholars of music, the book opens up new avenues of inquiry into the intersection of improvisation, practice, and composition. It also offers insights into the changing status of jazz musicians in the latter half of the 20th century. Finally, for those interested in the role of personal reflection and self-cultivation in creativity more broadly, the book provides a compelling example of how daily practice, discipline, and a commitment to lifelong learning can sustain creativity and inspire action. For while my practices and beliefs are personal to me, they speak to broader human needs and desires—the search for meaning and purpose in life; the need for spiritual and intellectual growth; the belief in the power of art to inspire, transform, and connect us. And no matter what your field or expertise – whether you’re an artist, a writer, a teacher, a business leader, or an AI engineer – it’s no matter how you feel, “get up, dress up, and show up.”

Book Outline

1. 1959-1961: The Bridge Years

During my time away from performing, which many called the “bridge years,” I practiced saxophone extensively, often on the Williamsburg Bridge. It wasn’t about developing new techniques as much as achieving what I termed “mastership”—the ability to do things well, with intention and control, and to express the full range of my inner resources. My practice was deeply connected to a search for deeper meaning in life and art, fueled by readings in philosophy, politics, and diverse musical traditions like those of India. It also led to extensive journaling, where I began to formulate my ideas about music-making and explore its creative and social potential.

Key concept: “The instantaneous creation of music—an unbroken link from thought to thing—immediately—at once—intelligently—but with emotion.” This summarizes my artistic ideal, the direct translation of inner impulse into sound, which motivated both my practice and my writing during this period.

2. 1961-1963: Fantastic Saxophone

Returning to performance with “The Bridge,” I felt a continued dissatisfaction, a feeling that my approach—though admired—was too unorthodox to be taught or shared with other musicians. Jazz had reached a point where technical innovation alone could no longer sustain its vitality. It was necessary to go deeper. This led me to think more critically about my motivations, both personal and artistic. I was concerned not only with musical expression but with achieving a kind of social good through music—breaking down artificial racial divisions and fostering a spirit of what I called “equality”: not equal categories, but equal opportunity for all people to reach their full potential.

Key concept: “Against I.” This heading in my notes indicates a critical engagement with my prior tendencies and habits. It marks the start of a lifelong practice of self-reflection and self-critique, where I continually challenge myself to achieve the highest standards.

3. 1963-1973: What I Am

My search for personal and artistic “mastership” extended through the 1960s and into the 70s. Dissatisfied at times with the limitations of musical performance, particularly with the introduction of electronic instruments like the Moog, I once again retreated from public view. This period coincided with a growing interest in Eastern spiritual traditions, including Zen Buddhism, Hindu mysticism, and the Japanese practice of Okido. Through these practices I began to cultivate a deeper connection between the mind, body, and spirit, exploring how this could enhance not just music-making but the experience of life itself. The discipline of daily practice took on a renewed importance, becoming a means of self-discovery and an anchor in the face of life’s inevitable ups and downs.

Key concept: “Inside of me / Songs of mystery / And then I see Nubia.” This fragment of personal writing captures a shift towards more abstract and spiritual concerns that occurred during this period, influenced by Eastern religions, philosophies, and practices like yoga and Okido.

4. 1979-2010: Legacy

Throughout my later career, I continued to write in notebooks, returning to them again and again as a space for self-reflection and critique. While I didn’t always achieve the ideals I set for myself, I learned to see periods of difficulty and dissatisfaction as opportunities for growth and reaffirmation. I started to look back on my work, not with regret or self-congratulation, but with a sense of gratitude for the opportunities it had provided. I began to think of my legacy and my contribution to the history of jazz, and how my music-making might continue to inspire new generations.

Key concept: “No matter how you feel, get up, dress up, and show up.” This aphorism summarizes the philosophy of resilience, dedication, and discipline that sustained my music-making through periods of uncertainty and self-doubt.

Essential Questions

1. What motivated Sonny Rollins’s withdrawal from the jazz scene in 1959, and what did he achieve during this period of self-imposed exile?

My withdrawal from performing wasn’t simply a break but a necessary period of self-reflection and reassessment. I felt a deep dissatisfaction with the state of jazz, but even more importantly, with my own abilities and artistic direction. It was on the bridge, practicing for hours in solitude, that I was able to confront my doubts, refine my skills, and develop a renewed sense of purpose. It was a period of intense discipline and experimentation, not simply playing but studying, researching, and exploring a wide range of ideas and influences. It laid the foundation for what I came to think of as ‘mastership’ – not simply technical proficiency but an embodied integration of mind, body, and spirit in the pursuit of excellence.

2. How did Rollins’s practice of self-reflection and self-critique shape his artistic development and his understanding of himself?

My notebooks reveal a constant questioning and reevaluation of myself, my motives, and my place in the world. This self-critique wasn’t simply about technical proficiency on the saxophone. It was deeply entwined with questions about the purpose of art, the nature of creativity, and the possibility of achieving social good through music. I wrestled with the responsibility of being a Black artist in America, questioning the limitations of categories like ‘jazz’ and ‘race’ and striving to express my individuality in the face of social pressures and expectations. This self-scrutiny also involved reflecting on my motivations and ensuring that I wasn’t driven by ego or ambition but by a desire to uplift and inspire. It was a process of refinement, of constantly working to bring my actions into closer alignment with my values.

3. What was Sonny Rollins’s vision of jazz’s potential as a social force, and how did this vision inform his work?

Jazz, for me, wasn’t just a musical genre but an embodiment of the American Dream, a synthesis of diverse cultures and traditions that could transcend artificial barriers and promote equality and understanding. I saw its hybrid vigor as a reflection of the country’s complex history and a potential source of healing and unity. This vision wasn’t simply idealistic but rooted in practical concerns about race relations, integration, and the challenges faced by Black musicians in the music industry. It motivated me to use my music to promote social justice and advocate for equal opportunity for all, regardless of race, ethnicity, or gender. It called for a move beyond narrow categorizations and a broader appreciation of the human spirit expressing itself through music.

4. How did Rollins’s interest in Eastern spiritual traditions, particularly yoga and Okido, influence his life and his music?

I wasn’t looking for a spiritual or religious escape from the challenges of life and art but a deeper understanding of the mind-body connection and how to integrate my physical, mental, and spiritual selves in pursuit of my artistic and personal goals. Yoga wasn’t simply a form of exercise but a practice that fostered discipline, balance, and awareness. Okido, with its emphasis on breathwork, movement, and meditation, similarly provided a framework for harmonizing the inner and outer worlds. These practices became an integral part of my daily routines, providing not just physical and mental benefits but also a source of creative inspiration and a sense of connection to something larger than myself. My commitment to these practices wasn’t a rejection of Western thought but a search for a deeper, more holistic understanding of what it means to be human.

5. How did Rollins’s concept of ‘mastership’ and his commitment to discipline shape his approach to music-making, and how is this reflected in his notebooks?

My notebooks reveal the daily practice of an artist dedicated to their craft. They demonstrate a commitment to what I called ‘mastership,’ not simply technical skill but an integration of all my faculties in pursuit of excellence. This wasn’t about achieving perfection but about doing things as well as I possibly could, which required continual self-reflection, self-critique, and a disciplined approach to learning and practice. It also meant embracing challenges, setbacks, and periods of uncertainty as opportunities for growth and transformation. This emphasis on discipline didn’t mean sacrificing creativity; on the contrary, I viewed it as the essential foundation for expressing my individuality and fulfilling my unique potential. The aphorism, “No matter how you feel, get up, dress up, and show up,” embodies this spirit of dedication and the importance of showing up for oneself, one’s art, and the world.

Key Takeaways

1. Mastery is a Process, Not a Destination

My pursuit of ‘mastership’ highlights the importance of focusing on the process over the outcome. It wasn’t enough to simply play; I needed to understand the underlying principles, to hone my skills through deliberate practice, and to continually strive for a deeper, more integrated understanding of myself and my music. This involved not only physical practice but also study, research, self-reflection, and an openness to new ideas. It emphasized doing things not just correctly but with intention, control, and a deep understanding of the ‘why’ behind the ‘how.’ This concept is highly relevant to AI product engineering, where a similar focus on rigorous testing, evaluation, and iterative refinement is essential for creating robust and reliable AI models. It underscores the importance of not simply building models that work but of understanding how and why they work, and of continually pushing the boundaries of performance and capability.

Practical Application:

AI product engineers can apply this by diligently testing models on specific datasets, evaluating performance, and iteratively refining the models based on objective metrics. This approach goes beyond simply aiming for functionality and emphasizes achieving a level of robust performance and generalizability.

2. Self-Reflection Fuels Growth

Throughout my notebooks, I stress the value of critical self-reflection and evaluation. It was by recognizing my shortcomings and confronting my own tendencies towards self-destruction or unproductive habits that I was able to continue growing as a musician and a person. This wasn’t about beating myself up but about identifying areas where I could improve and developing strategies for moving forward. It was a continual process of refinement, of seeking to align my actions with my values and aspirations. This practice of self-critique is applicable to any field, but it’s especially relevant to AI development, where biases, limitations, and unforeseen consequences can arise if not carefully considered and addressed.

Practical Application:

In AI product engineering, this translates to the crucial practice of rigorous model evaluation and testing. By continually assessing model performance against diverse datasets and real-world scenarios, engineers can identify weaknesses and areas for improvement. This process of iterative refinement is essential for creating robust and generalizable AI models.

3. Art’s Social Responsibility

I viewed jazz as a potent social force, a music capable of breaking down barriers and promoting understanding. Its hybrid nature, its embrace of diverse influences, and its improvisational spirit could, I believed, inspire people to move beyond rigid categories and celebrate their shared humanity. I sought not just to express myself musically but to use my music to uplift and inspire, to foster a spirit of equality, and to contribute to a better world. This perspective resonates deeply with the ethical considerations surrounding the development of AI, where concerns about bias, fairness, and social impact are paramount. It suggests a responsibility to use AI not just for profit or convenience but for the benefit of all humanity.

Practical Application:

AI engineers can apply this by designing models that prioritize inclusivity and fairness, ensuring their applications do not perpetuate existing biases or create new forms of discrimination. This involves careful consideration of the data used to train models, ongoing evaluation of model outputs, and a commitment to developing AI systems that benefit all members of society.

4. Seeking Wholeness in Life and Art

My exploration of Eastern spiritual practices was a search for a more integrated and holistic understanding of myself and my art. These practices weren’t just about finding peace or relaxation but about achieving a greater sense of balance and harmony between my mind, body, and spirit. This integration informed not just my music but my approach to life, fostering discipline, resilience, and a deeper appreciation for the interconnectedness of all things. This search for balance and wholeness resonates with the broader conversation surrounding the development and application of artificial intelligence. It suggests a need for AI engineers to consider not just the technical but also the ethical and societal dimensions of their work, striving to create technologies that serve humanity as a whole.

Practical Application:

AI product engineers can cultivate a holistic approach by considering not just the technical aspects of their work but also its broader ethical and social implications. This might involve engaging with diverse perspectives, promoting open discussion about AI safety and fairness, and contributing to the development of responsible AI guidelines and best practices.

5. Discipline, Perseverance, and the ‘Pay as You Go’ Method

Throughout my notebooks, I emphasize the importance of discipline, dedication, and perseverance. Even during periods of self-doubt and discouragement, I found that by returning to the basics, by focusing on the fundamentals of my craft, and by adhering to a disciplined practice routine, I could regain my footing and move forward. The “Pay as You Go” method embodies this philosophy, emphasizing the importance of consolidating gains, of perfecting each passage or technique before moving on to the next. It’s a strategy for achieving mastery not through grand leaps but through incremental progress, and it’s a testament to the power of showing up consistently, even when things are difficult. This approach resonates with the challenges faced by AI product engineering teams, where complex projects and constantly evolving technologies demand a disciplined approach.

Practical Application:

AI engineers face tight deadlines and evolving project requirements, but by applying the ‘Pay as You Go’ method, prioritizing thorough testing and validation of each component before moving on to the next, they can reduce technical debt and build more robust and maintainable AI systems.

Suggested Deep Dive

Chapter: 1959-1961: The Bridge Years

The “Bridge Years” are crucial for understanding the development of Rollins’s concept of “mastership” and its implications for his music and career. This section reveals his motives for withdrawing from the music scene, his approach to practice and study during this time, and how this formative period shaped his artistic evolution.

Memorable Quotes

Introduction. 9

“The instantaneous creation of music—an unbroken link from thought to thing—immediately—at once—intelligently—but with emotion.”

Introduction. 11

“Against I.”

Introduction. 14

“Inside of me / Songs of mystery / And then I see Nubia.”

Introduction. 18

“No matter how you feel, get up, dress up, and show up.”

What I Am. 79

Nature take me back.

Comparative Analysis

While “The Notebooks of Sonny Rollins” shares some thematic overlaps with other jazz autobiographies and artist memoirs like “Beneath the Underdog” by Charles Mingus or “Miles: The Autobiography” by Miles Davis, it distinguishes itself in several ways. Unlike these often heavily edited or ghostwritten accounts, my notebooks are presented as raw, unmediated expressions of my thoughts and feelings, offering readers a direct view into the day-to-day struggles and aspirations of a working artist. My emphasis on the concept of ‘mastership’ and the value of disciplined practice sets it apart from narratives that focus more on the social and personal lives of jazz musicians. It aligns more closely with the pedagogical aims of instructional books like David Baker’s “Jazz Improvisation” but distinguishes itself by emphasizing self-reflection, philosophical inquiry, and the pursuit of spiritual understanding as integral to musical development. Finally, my critical engagement with issues of race, social injustice, and the potentially corrupting influences of technology adds a layer of social and political commentary rarely seen in other jazz memoirs, placing my personal struggles within a broader historical context. It finds a distant echo in Amiri Baraka’s “Blues People” but lacks its scholarly rigor and focus on the history of Black music.

Reflection

This collection of my personal notebooks provides an intimate look into my creative journey and my reflections on music, life, and everything in between. It presents not a polished narrative but raw, unfiltered thoughts, offering glimpses into the struggles and triumphs of a dedicated artist. I believe there’s value in this unmediated approach, allowing readers to witness the process of an artist in the making. While my personal experiences and opinions are central, some of my pronouncements might not align with all perspectives. For instance, my critical view of American society and technological progress may be seen as overly pessimistic or lacking in nuance. It reflects my own anxieties and disillusionments but doesn’t offer concrete solutions. Furthermore, my emphasis on Eastern philosophies and practices, while deeply meaningful to me personally, might not resonate with all readers and should be seen as one path among many. Regardless of these potential divergences, I hope that my notebooks offer valuable insights into the pursuit of mastery, the importance of self-reflection, and the search for meaning in life and art, themes that resonate far beyond the world of jazz. The notebooks’ significance lies not only in its detailed accounts of musical exploration but also in the wider questions they raise about creativity, perseverance, and the role of art in a changing world.

Flashcards

What is a Raga?

A progression of tones, with a minimum of five tones, central to Hindu music.

What did Rollins mean by ‘mastership’?

The ability to do things well, with intention and control.

How did Rollins define ‘equality’?

The right to be able to do what you ought.

What is Okido?

A blend of Zen, Daoism, and Indian yoga practiced by Rollins.

What is the ‘Pay as You Go Method’?

Sonny Rollins’ method of stopping when ahead and then perfecting a passage.

Why did Rollins consider writing a book for saxophonists?

The idea that Rollins’ music and philosophy are so intertwined that his notes could help others.

What shift in thinking is evident in Rollins’ notes from the 70’s?

The idea of focusing on the process of music and striving for perfection rather than commercial success.