At the risk of repeating myself (see the last edition of Jazzwise), here's another slice of vinyl opportunism from Jazz Images, who, once again, have seen fit to rob yet another classic album of its classic cover and serve it up with an added side-order comprising an unconnected ‘bonus’ track. The original LP, needless to say, is indispensable, the middle part of Rollins' marvellous trio of piano-less recordings from 1957-58, sitting between Way Out West and The Freedom Suite. In fact, it's hard to think of a better setting for his burgeoning genius at this point: live and with two pairs of ‘accompanists’ who could – and do – follow him anywhere. Looked at as simply a playlist, the tracks might look rather conservative; a blues (‘Sonnymoon For Two’), a themeless exploration of the changes of a ‘Confirmation’ (‘Strivers Row’), a modern jazz standard (‘Night In Tunisia’) and a couple of Great American Songbook perennials (‘Softly As In A Morning Sunrise’, ‘I Can't Get Started’). The central message of Rollins' music though is that it ain't what you play, it's the way that you play it and this transforms every piece into an improvisational masterclass. Indeed, the sheer fecundity of his imagination remains stunning even today, six decades on. The big, masculine sound; the onrush of his delivery; the sly, knowing wit; the ability to inspire those around him to even greater heights. Take Elvin Jones, who delivers what is his finest on-record pre-Coltrane performance, beginning to show the independent, free-flowing style that would shortly elevate him into the front rank of jazz drumming influences. A single track, from a matinee earlier that day, with the young Pete La Roca, also contains hints of what was to come. The – ahem – ‘bonus’ (a track by Rollins with the MJQ) leaves Connie Kay sounding positively old-fashioned in comparison. Everyone should know this music. And everyone should be aware that this issue doesn't really do it justice. File under… oh, you know the rest.