Very few jazz musicians have attained the same stature and respect as Sonny Rollins, and even fewer of his generation are still around to endow us with their knowledge and experience. Rollins's resume reads like a "Who's Who" of the modern jazz era. He cut his teeth as a teenager, recording with trombonist J.J. Johnson and Bud Powell, an archetype for jazz pianists. Rollins later had stints with the one and only Miles Davis, as well as the trail blazing Clifford Brown-Max Roach Quintet. The 1950s saw him come into his own, collaborating with his musical motivator, John Coltrane, on Tenor Madness, recording classic sides such as the seminal Saxophone Colossus, as well as the activist The Freedom Suite, and introducing compositions such as "St. Thomas", "Doxy", and "Oleo" into the jazz lexicon. Rollins continued to grow and cross genres over the next several decades, and anyone wondering about his relevance today need only listen to 2005's Without a Song: The 9/11 Concert to settle all doubts.

Rollins will be performing tonight at the Kennedy Center's Concert Hall in a performance sponsored by the Washington Performing Arts Society. His live performance presents his rich jazz experience and knowledge, but also showcases the 77-year old icon's keen interest in the rhythms and music of the Carribbean.

At the end of the day, however, his music speaks for itself, and so when DCist had an opportunity to speak with the great Sonny Rollins, we chose to explore the connection between him and our fair city. Rollins did not disappoint, expressing a sentiment that the District's jazz lovers have held for quite some time.

"One thing I can say about Washington is that some of the best, most soulful musicians I've met come out of the D.C. area," Rollins said. "There was such a level of musicianship and a real deep ethnic sensibility."

The relationship between Rollins and D.C. extends all the way back to the '50s, when Rollins played at some of the city's most storied venues.

"The first time I played in D.C. I played with Miles [Davis] at the Howard Theater, so that goes back a while," he recalled, referring to the historic venue that was sadly abandoned and fell into disrepair, but is now undergoing renovations.

"I also played a lot at this place The [Bohemian] Caverns when I was with Max Roach and Clifford Brown, and I must have played there with my own group," he continued.

While this is all well and good, a jazz scene requires more than just good venues and must be all about the players. Rollins, pleasingly, also developed relationships over the years with some of D.C.'s finest.

"I used to play a lot at this place called the Et Cetera Club," he said, "and that's where I met this kid Ron Holloway." Holloway, of course, has gone on to become a local institution.

Rollins has also gotten to know other local legends such as saxophonist Buck Hill, who Rollins referred to as a "good friend of mine from those days." Additionally, when Rollins returned from his a well-chronicled sabbatical from jazz in the late '50s and early '60s, which included now legendary practice sessions on New York's Williamsburg Bridge, his first album upon his return, titled The Bridge, included D.C. drummer Harry "H.T." Saunders.

Despite his being a witness to, and creator of, music history, when asked if he had any memorable performances in D.C., Rollins replied humbly, "[A performance] would have to be spectacular to stand out in my mind, and I haven't had that many spectacular performances in my whole life."

While Rollins might hold unreasonably high expectations for himself, as any dedicated artist should, those lucky enough to be in the audience tonight can no doubt expect a memorable evening.

Tickets to tonight's 8 p.m. performance at the Kennedy Center are sold out, but it's always worth contacting the box office for last minute availability.

Images courtesy Sonny Rollins