When Sonny Rollins disconnected from the scene and took his saxophone up to the Williamsburg Bridge to practice alone for almost three years, everyone expected that upon his return he would offer something “revolutionary” and groundbreaking. But Rollins went up there to perfect his craft, not to invent “hot water.” The pressure of being famous demanded an exile like that in order to master the instrument and justify the attributes given to him by critics and fellow musicians; attributes that described him as one of the best saxophonists and improvisers ever. He earned them with his thematic improvisations which had been considered groundbreaking in the fifties and that’s why this comeback album received mixed reviews - it was nothing dramatically new or different, all of that in times of the rise of Ornette Coleman and his revolutionary free jazz. Still, the album was sensationally successful, most of all because of the wonderful performances of the musicians and their masterful interplay. And of course, Sonny Rollins’ unique voice on the saxophone, beautiful solos and memorable compositions.
With several ballads, the album has a cool, mellow feeling at first, but it is music that's simmering with intensity, energy, and creativity. All the members of the quartet - Jim Hall on guitar, Bob Cranshaw on double bass and Ben Riley on drums, and Rollins himself - give their best, showcasing their supporting qualities, but also superb soloing in the case of Jim Hall. That’s why many consider “The Bridge” to be a Jim Hall landmark album as well. The original release consists of six tracks, two of which are Rollins' compositions (“John S.” and “The Bridge”), while the others typified Sonny's habit of choosing popular songs rarely used in jazz, such as “Without a Song” and “You Do Something to Me.” (“Without a Song” includes good solos from Rollins, Hall, and Cranshaw.) “The Bridge” was Rollins' first release following the three-year self-imposed sabbatical and was his first recording for the Bluebird/RCA Victor label. It was recorded January 30 and February 13-14, 1962, and released the same year.
