Sonny Rollins, a towering figure in jazz and one of the last surviving major artists from the generation of Miles Davis and John Coltrane, died on May 25, 2026, at the age of 95. His career, which spanned more than six decades, played a pivotal role in establishing jazz as a significant cultural force in the Western world and elevating black jazz musicians to the status of respected artists.

Born Theodore Walter Rollins on September 7, 1930, in New York to immigrant parents from the Virgin Islands, Rollins grew up in Harlem’s Sugar Hill neighborhood, where he was surrounded by jazz legends such as Duke Ellington and Coleman Hawkins. Encouraged by the vibrant local scene, he adopted the saxophone around age 10 and quickly gravitated from rhythm and blues to jazz. Early friendships with future jazz greats such as Art Taylor, Jackie McLean, and Kenny Drew helped shape his musical path.

Rollins embarked on his professional career immediately after high school, recording at age 18 and joining the vibrant New York jazz scene orbiting Charlie Parker. However, his early years were marked by struggles with heroin addiction, leading to multiple arrests and stints in prison before the age of 22. Despite this tumultuous period, Rollins matured rapidly as a musician, working with many leading figures including Parker, Thelonious Monk, Miles Davis, and Art Blakey.

After receiving a strong warning from Parker to overcome his addiction, Rollins entered a federal drug rehabilitation center in Kentucky, from which he emerged committed to a clean lifestyle. Known for his rigorous practice routine—sometimes lasting up to eight hours a day—he developed a distinctive tenor saxophone tone marked by rhythmic daring and architectural phrasing.

His breakthrough came in the mid-1950s with the release of "Saxophone Colossus," one of the era’s defining jazz albums. The album’s innovative compositions, particularly "Blue Seven," were praised for their complex and eloquent improvisations, establishing Rollins as a leading voice in jazz. He was a central member of the Max Roach-Clifford Brown Quintet until Brown’s death in 1956 and went on to record prolifically under his own name.

In 1959, Rollins took a two-year hiatus from public performance, during which he practiced extensively on the Williamsburg Bridge in New York, attracted by its unique acoustics. He returned with the album "The Bridge," collaborating with guitarist Jim Hall, and continued to cultivate an international reputation, touring Europe and Japan. His 1965 London residency at Ronnie Scott’s jazz club coincided with his composition of the Grammy-nominated soundtrack for the film "Alfie," in partnership with British pianist Stan Tracey.

Rollins retired again in 1969 for a spiritual retreat in Japan and India, citing feelings of regret for his early life choices. His 1972 comeback initiated a fruitful association with the Milestone label, producing acclaimed albums such as "The Cutting Edge" (1974) and "Sonny Rollins + 3" (1995). While some of his later recordings were less well-received, his live performances remained his hallmark, known for intense, long-form improvisations that inspired audiences worldwide.

In his later years, Rollins lived quietly near Germantown, New York, with his wife Lucille, who was also his manager, and their dogs. He was present near the World Trade Center during the attacks on September 11, 2001, and was seen among survivors carrying his saxophone case. Diagnosed with pulmonary fibrosis in 2017, Rollins gradually reduced public performances and donated his extensive archives to the Schomburg Center for Research in Black Culture.

He was twice married—first briefly in his early twenties and then to Lucille Pearson from 1965 until her death in 2004—and had no children. Following reports that there was a proposal to rename the Williamsburg Bridge in his honour, Rollins was reportedly amused by the idea that the site of his private nighttime practice sessions might one day bear his name.

Sonny Rollins’s enduring legacy lies in his relentless innovation, distinctive sound, and profound influence on generations of jazz musicians.