The premise behind this is that it would be instructive to compile a set of Rollins' studio trio performances into a chronological anthology, as a way of showing how his playing blossomed in a chordless setting. Rollins aficionados, though, will know that his real forte was and is playing live and so the huge missing component in this anthology is the Vanguard recordings from Blue Note from November 1957 that put him in the ideal setting with Wilbur Ware and Elvin Jones (or Pete La Roca). The studio-based interplay on show here is more considered and often has less of a spontaneous feel than the intensity of the Vanguard. That is certainly the case with Way Out West, which comprises the first CD here and which has (in addition to the tracks of the Contemporary reissue of this album on OJC), an alternative take of ‘There Is No Greater Love’ in which – at a slightly faster tempo – Ray Brown's inventive bass playing vies with Sonny for solo honours. The other bassists here, by and large, fail to match Brown's technical perfection or invention. Pettiford, who produces a muddy tone and rather pedestrian phrasing, is crowded out on the Freedom Suite by Sonny and a very in-form Max Roach. Henry Grimes has some severe intonation problems although his trio with Specs Wright on drums (from the Brass/Trio album) has some really unusual timbres, and Sonny's playing is generally more relaxed. The liner notes and sleeve information get themselves in a twist over ‘The Last Time I Saw Paris’, the sleeve correctly pointing out that it is Paul Chambers on bass, whereas the liner suggests it is Percy Heath (who did not play on this selection from The Sound of Sonny). So, all in all, a good collection to have in that Sonny is never less than interesting and for the most part characteristically inventive, but lacking the fire that he got from feeding off an audience.