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Sonny Rollins Plus 4 LP M 1958 Prestige Reid Miles cover Clifford Brown RVG Max Roach
Sonny is in great form on this recording with Clifford Brown Max Roach Richie Powell the solos are fantastic it is a shame that Brown & Powell died after this recording which ended the collaboration . Essential 
Sonny Rollins Plus 4 is a jazz album by , released in 1956 on . On this album Rollins plays with the / Quintet. The album was the last recording including pianist  and Brown, as both died in a car accident three months later.
Rollins wrote his two compositions ("Pent-Up House" and "Valse Hot") while a sideman in the / Quintet. It was more common in the 1950s for a sideman recording his own work to record with either the rhythm section or leader; thus it was unusual when Rollins recorded with the same musicians that he played with in the Quintet. Rollins had joined the Quintet five months beforehand, replacing , who left New York to care for his sick wife in California.
 Rollins recorded Plus 4 and used the Quintet as part of an arrangement between his record label, , and , the jazz subsidiary of , which had the Brown/Roach Quintet under contract. To use Rollins on the Brown-Roach Quintet's EmArcy albums, Prestige owner  insisted that the group record one album for Prestige under Rollins's name for every EmArcy album it recorded as the Quintet. But this arrangement produced only two albums, one for each label, before the tragic deaths of Quintet members Clifford Brown and Richie Powell in June 1956 ended the deal. Rollins had an idea for the album, as well as several original compositions, so the album had a sound distinct from the Quintet's.

1956, Sonny Rollins was spiritually and physically rejuvenated. And on Sonny Rollins Plus 4, he's clearly inspired by  and 's depth of spirit. Multi-dimensional re-arrangements of popular songs were a - trademark. "Kiss and Run" is treated to a stop-and-go intro, then settles into a brisk 4/4, as Rollins, , and the perennially underrated  fashion long dancing lines. "I Feel a Song Coming On" creates tension by alternating a vamp figure with a swinging release. Rollins takes an immense solo, contrasting chanting figures and foghorn-like long tones with -ish elisions, and  answers with buzzing figures and daring harmonic extensions. Then  takes things out with sweeping melodic choruses and polyrhythmic fanfares, setting the stage for a torrid tenor-trumpet duel. On "Valse Hot," there's an early example of a successful jazz waltz as Rollins offers up one of his most charming themes.  treats the European three with the dancing elan of an American four, and Rollins responds by floating in between the beat, syncopating in -ish stabs and thrusts, as  answers with the kind of rhythmically complex, sweetly articulated melodic lines that have inspired every modern trumpeter.