Red Emma’s

Sonny Rollins has long been considered an enigma. Known as the "Saxophone Colossus," he is widely acknowledged as one of the greatest jazz improvisers of all time, winning Grammys, the Austrian Cross of Honor, Sweden's Polar Music Prize and a National Medal of Arts. A bridge from bebop to the avant-garde, he is a lasting link to the golden age of jazz, pictured in the iconic "Great Day in Harlem" portrait. His seven-decade career has been well documented, but the backstage life of the man once called "the only jazz recluse" has gone largely untold—until now.

Based on more than 200 interviews with Rollins himself, family members, friends, and collaborators, as well as Rollins' extensive personal archive, Saxophone Colossus is the comprehensive portrait of this legendary saxophonist and composer, civil rights activist and environmentalist. A child of the Harlem Renaissance, Rollins' precocious talent landed him on the bandstand and in the recording studio with Bud Powell, Thelonious Monk, Charlie Parker, Miles Davis and Dizzy Gillespie, or playing opposite Billie Holiday. An icon in his own right, he recorded Tenor Madness, featuring John Coltrane; Way Out West; Freedom Suite, the first civil rights-themed album of the hard bop era; A Night at the Village Vanguard; and the 1956 classic Saxophone Colossus.

Yet his meteoric rise to fame was not without its challenges. He served two sentences on Rikers Island and won his battle with heroin addiction. In 1959, Rollins took a two-year sabbatical from recording and performing, practicing up to 16 hours a day on the Williamsburg Bridge. In 1968, he left again to study at an ashram in India. He returned to performing from 1971 until his retirement in 2012.The story of Sonny Rollins--innovative, unpredictable, larger than life—is the story of jazz itself, and Sonny's own narrative is as timeless and timely as the art form he represents. Part jazz oral history told in the musicians' own words, part chronicle of one man's quest for social justice and spiritual enlightenment, this is the definitive biography of one of the most enduring and influential artists in jazz and American history.

Aidan Levy is the author of Dirty Blvd.: The Life and Music of Lou Reed and editor of Patti Smith on Patti Smith: Interviews and Encounters. A former Leon Levy Center for Biography Fellow, his writing has appeared in The New York Times, The Village Voice, JazzTimes, The Nation and other publications. He is a doctoral candidate at Columbia University in the Department of English and Comparative Literature, where he has served as co-convener of the African American Studies Colloquium and works with the Center for Jazz Studies. For ten years, he was the baritone saxophonist in the Stan Rubin Orchestra.

Lawrence Jackson is the author of the award-winning books Chester B. Himes: A Biography (W.W. Norton 2017), The Indignant Generation: A Narrative History of African American Writers and Critics (Princeton 2010), My Father’s Name: A Black Virginia Family after the Civil War (Chicago 2012) and Ralph Ellison: Emergence of Genius, 1913-1952 (Wiley 2002). Harper’s Magazine, Paris Review, and Best American Essays have published his criticism and non-fiction. Professor Jackson earned a Ph.D. in English and American literature at Stanford University and has held fellowships from the Guggenheim Foundation, the National Humanities Center, and the William J. Fulbright program. He began his teaching career at Howard University in 1997 and he is now Bloomberg Distinguished Professor of English and History at Johns Hopkins University, where he directs the Billie Holiday Center for Liberation Arts. His latest books are Hold It Real Still: Clint Eastwood, Race, and the Cinema of the American West (Johns Hopkins University Press 2022) and Shelter: A Black Tale from Homeland, Baltimore (Graywolf 2022). 

In addition to his writing and research, Professor Jackson launched and now serves as director of the Billie Holiday Center for the Liberation Arts, an initiative that showcases the unique arts, history, and culture of Baltimore. Founded in 2017, the project fosters organic links between the intellectual life of Johns Hopkins University and the city’s historic African-American communities, celebrating the strengths and potential of both. The BHCLA serves a cultural purpose, hosting regular events to nurture such connections, as well as an archival one, protecting artifacts of African-American culture and politics.