J.J. Johnson & Frank Rosolino

8/10/2019 J.J. Johnson & Frank Rosolino

http://slidepdf.com/reader/full/jj-johnson-frank-rosolino 1/17

J.J. Johnson & Frank Rosolino

- Steven Cerra [C] Copyright protected; all rights reserved.

If one can be said to have a genetic pre-disposition to Jazz, when y

haploid genoe got to the trobone part in its developent, it probablyfo!nd that it was already prograed to find the instr!ent agreeablebeca!se of y father"s love of Jac# $eagarden.

%or a an who had no foral !sical training, y &ad co!ld press theth!b and forefinger of his left-hand to his lips as tho!gh he was holdinga o!thpiece in place, !se the th!b and forefinger of the right topantoie oving the trobone slide thro!gh vario!s positions andacc!rately bl!rt o!t every note of $eagarden"s solos on St. JamesInfirmary, Rockin’ Chair and When It’s Sleep Time Down South.

I really believe that the only reason

that y father gave into y constant, teenage badgering abo!t attendingthe '()* +ewport Jazz %estival [I grew !p in rovidence, I] was that onthe night he agreed to ta#e e, Jac# $eagarden was perforing as part of a birthday trib!te to o!is /rstrong.

0e act!ally et Jac# earlier that day while f!eling-!p at the all-day b!ffetin the 1i#ing 2otel which is located very near %reebody ar#, the ven!efor the festival. 3!t I was the one who ade the introd!ctions beca!sey &ad was too awestr!c# !pon eeting his idol to say anything.

4!ch later, I wo!ld enco!nter this description of Jac# $eagarden by0hitney 3alliett fro the i! T chapter in his American Musicians: 56

http://jazzprofiles.blogspot.com/2008/08/jj-frank.html




Portraits in Jazz [+ew 5or#6 78ford 9niversity ress, '(:*] and readingit ade e feel as tho!gh I was once again standing in $eagarden"spresence in '()*6

"Tea!arden’s demeanor and appearance always #elied his tra$ails [he had

been arried fo!r ties, all relatively !ns!ccessf!lly; had no head foroney and was a gargant!an" dr!n#er]. %e was tall and handsome, solid throu!h the chest and shoulders. %e had a s&uare, open face and widelyspaced eyes, which he kept narrowed, not lettin! too much of the worldin at one time. %is #lack hair was com#ed flat, its part 'ust to the left ofcenter. %e was sometimes confused with Jack Dempsey.( [p. '*'].

<!nther Sch!ller, in his essay entitled The Trom#one in Ja)) , a chapter in3ill =irchner [ed.], The Oxford Companion to Jazz [+ew 5or#6 78ford9niversity ress, >???] offers this assessent of what Jac# $eagarden

eant to Jazz trobone6

"Jack Tea!arden #rou!ht a whole new le$el of musical sophistication ande*pressi$ity to trom#one playin!. y +-, Tea!arden had mo$ed to /ew 0ork, where he made his first recordin!s, ama)in! his fellow musicianswith his $ersatility, ori!inal ideas, and profoundly mo$in! ways of playin!the #lues.

Tea!arden had a $ery easy, secure hi!h re!ister, and as a conse&uencewas one of the first trom#onists to de$elop and a#undance of

1unorthodo*’ alternate slide positions, playin! mostly on the upper partials of the harmonic series and thus rarely ha$in! to resort to thelower 2fifth to se$enth3 positions. Since many of these alternate positionsare impure in intonation, it is remarka#le how in tune Tea!arden’s playin!was for that time.( [pp. *@'-*@>; paragraphing odified].

/s it t!rned o!t, it was the !sic fro another day of the '()* +ewportJazz %estival that fig!red directly into y introd!ction to the first of thetwo Jazz trobonists I cae to prefer when I decided to p!rchase theCol!bia [(@>; iss!ed on disc as S4ABSCS ()>>] that feat!red the

Dave Bruec! "uartet and Ja# $ %ai at &e'port(



istening to the three trac#s bythe Jay =ay D!intet on this , I EetF J.J. Johnson for the first tieand it was love-at-bass-clef on y part. I had heard =ai 0inding earlieron soe Stan =enton G:"s that a friend loaned e, b!t it was a newe8perience for e to hear his big, open so!nd in a sall gro!p setting.

2ere"s what <Hnter Sch!ller has to say abo!t the=enton trobones and =ai 0inding6

"4nother remarka#le trom#one section, totally different than 5llin!ton’swas that of Stan 6enton’s orchestra. e!innin! in the mid7+89s, its styleinitiated and set #y 6ai Windin!, it re$olutioni)ed trom#one playin!stylistically, especially in terms of the sound 2#rassier, more prominent inthe ensem#le3 and type of $i#rato 2slower, and mostly lack thereof3, aswell as #y addin! the 1new sound’ of a #ass trom#one 2art :asolona and

later ;eor!e Ro#erts3. The 6enton trom#one section’s influence wasenormous and continues to this day.



4lthou!h the section’s personnel chan!edoften o$er the decades, it retained its astonishin! stylistic consistency,not only #ecause of stalwarts such as <ilt ernhart and o# =it)patrickheld lon! tenures in the orchestra, #ut #ecause incomin! players, such aso# ur!ess and =rank Rosolino and a host of others, were e*pected to fit into the #y7then7famous 6enton #rass sound.( [op. cit., p. *@G;paragraphing odified].

0ith the wonderf!l rhyth section of &ic# =atz on piano, 3ill Crow on

bass and !dy Collins on dr!s, both J.J. and =ai prod!ced a brash,brassy, and vibrato-less so!nd on trobone that see to leap o!t of the+J% recordings.

%ro what 0illis Conover recorded when he introd!ced the Johnson-0inding band at the '()* +J%, I gathered that this was one of the gro!p"slast perforance together. I was so e8cited by the two trobone so!ndthat I searched o!t other recordings that the Jay =ai D!intet had aded!ring its e8istence fro '()-)*.



$oward the close of the followingyear, in late '()G, y faily oved to So!thern California and than#s toa high school band ate, I was introd!ced to the other half of ypreferred Jazz trobone tande when he too# e to $he ightho!se Cafin 2erosa 3each, C/ and I heard the iniitable %ran# osolino perforas part of 2oward !sey"s ightho!se /ll-Stars [2/S].

7ver the ne8t two years, for the better part of '(): thro!gh '()(, I wasable to hear %ran# five nights a wee# [with a do!ble set on S!nday] with

3ob Cooper [ts], 1ictor %eldan [piano and vibes], 2oward !sey[bass] and Stan evey [d] with Conte Candoli occasionally Koining in toa#e it a se8tet.

7f co!rse y &ad always claied that Eit too# two of these be-boptrobone g!ys to eL!al one $eagarden,F b!t after attending a portion ofone of the S!nday afternoon arathons [>6?? 4 M >6?? /4] at theightho!se with e, he had to agree that %ran# was a pretty specialplayer.

[%ran# adored y &ad after their first eeting beca!se of their !t!aladiration for $eagarden and beca!se y &ad #new that his last naewas properly prono!nced in Italian as Eose-o-linoF and not the orec!stoary Anglish pron!nciation of Eoss-o-lino.F]

It was not !ntil !ch later that I cae to !nderstand J.J. Johnson"s placein the pantheon of be-bop gods as described in the following fro Ira<itler"s Jazz Masters of the )*s[+ew 5or#6 &a Capo, '(:>]6



"4s the >? R5:>@ATI>/ spread,solo instruments other than the trumpet, alto sa*, and piano #e!an toecho the doctrines of ?arker and ;illespie. The trom#one, lar!ely arhythm instrument in the dawn of 'a)) #efore it was !ranted true solo

pri$ile!es, had ne$er #een played in the swift, e*tremely le!ato, ei!hth7note style that J.J. Johnson introduced in the mid7forties. Since that timethere ha$e #een few new trom#onists who ha$en’t shown somemanifestation of JohnsonBs style in their playin!.

4n inno$ator in areas of tone and techni&ue, translator of #op ideas onhis instrument, Johnson #ecame the most influential and populartrom#onist of the modem era. Whereas most of the !iants of the fortieswere $olatile personalities in one way or another, Johnson has always#een soft7spoken, modest, and usually reser$ed, completely different intemperament from ;illespie, ?arker, or ?owell.( [p. '@G]

3!t what I did #now was how !ch



I enKoyed listening to the so!nd that both J.J. and %ran# prod!ced on thetrobone.

/s for %ran#, I had vag!e reebrances of his playing with =enton on=rank Speakin! and I ;ot It ad and That 4in’t ;ood , b!t once again I

was !naware of his gro!nd-brea#ing significance concerning theinstr!ent per the following L!otation fro trobonist, arranger andcoposer M 3ill !sso M in $ed <ioia"s The +istor# of Jazz, +ew 5or#678ford 9niversity ress, '((G]6

"Creditin! Rosolino for #roadenin! the techni&ue of the trom#one, illRusso recalled 1We were all sta!!ered #y what he could do, not only atthe speed of his techni&ue and that he played so well in the upperre!ister, #ut that he had such incredi#le fle*i#ility.( [pp. >*:->*(].

4ore bac#gro!nd abo!t thedevelopent of %ran#"s incredible facility on trobone can be fo!nd in thefollowing fro $ed <ioia, altho!gh the so!rce for the citation changes tohis -est Coast Jazz, Modern Jazz in Ca.ifornia: /0)51/06* [+ew5or#6 78ford 9niversity ress, '((>]6

Rosolino was the son of immi!rant parents from Sicily Emy father whowas from an area around Rome promised not to hold this a!ainst himFGwho settled in Detroit, where =rank was #orn on 4u!ust -9, +-H. %isfather, a talented musician who played mandolin, clarinet and !uitar,started instructin! him on !uitar at a!e nine and encoura!ed him to study the accordion at thirteen. The old7country instrument did not appeal tothe youn!ster. Instead, he con$inced his father that he was #i! enou!h tolearn the trom#one. e!innin! on a - model purchased at a pawnshop,Rosolino spent much of his practice time mimickin! the e*ercises his#rother Reso played on the $iolin. 1<ay#e that’s why I started thinkin! of

playin! with speed,B Rosolino later mused.( [pp. >>']



7ver the years, as I heard %ran# night after night with the 2/S, andlater with the $erry <ibbs &rea 3and at $he S!it or with his ownL!artet with 1ictor %eldan on piano which appeared one night a wee# atShelly"s 4anne 2ole, it becae very easy to agree with the followingassessent of %ran#"s playing by <ene ees in his Meet Me at Jim and

And#2s: Jazz Musicians and Their -or.d [+ew 5or#6 78ford 9niversityress, '(::]6

"=rank Rosolino was K EoGne of the finest trom#one players in the historyof the instrument, he had a super# tone, astonishin! facility, a deepItalianate lyricism, and rich in$ention. =rank was $ery simply asensational player. In addition he had a wonderful spirit that alwayscommunicated itself to his associates on the #andstand or the recorddate.( [p. '''].

7r as 3ob <ordon s!ccinctly phrased it in his Jazz -est Coast: The 3os An4e.es Jazz cene of the /05*s [ondon6 D!artet 3oo#s, '(:*]6

"K =rank Rosolino remains 1sui !eneris,’ a trom#onist with a truly uni&uestyle.( [p. '*].

/nd all this tie, here I was essing aro!nd with these two trobonistshaving no idea that they were two giants; I K!st loved listening to theplay.

3eca!se of y pro8iity to %ran#"s playing, J.J., who was based in +ew5or# at this tie, #ind of got p!shed into the bac#gro!nd a bit !ntil oneday when a copy of J(J( nc [Col!bia '*?*] arrived at the door co!rtesy

of the Col!bia ecord Cl!b.0hat an alb!N I still have the original and it is a iracle that it plays

given the n!ber of ties a needle has c!t thro!gh the vinyl.



7f co!rse, it has been s!bseL!ently s!pplanted by a C& [Col!bia egacyC= *)>(*] which !ch to y delight contains an e8tended version of oneof the trac#s that appeared on the original and two bon!s trac#s thatwere not incl!ded on the vinyl version.

/nd to say that as a res!lt of this , J.J. was bac# in y life wo!ld be an!nderstateent, beca!se he bro!ght along with hi %reddie 2!bbard ontr!pet, Cedar 0alton on piano, before both Koined /rt 3la#ey and theJazz 4essengers, Clifford Jordan on tenor sa8ophone, /rth!r 2arper onbass and the ever-p!lsating /lbert E$ootieF 2eath on dr!s in what isperhaps the best recording $ootie ever ade and he has ade a lot of e.

$his recording offers J.J. Johnson at the pea# of his for as a Jazztrobonist and it also shows his gifts as both a coposer and a arranger

as he wrote seven of its nine trac#s and arranged all of the.

$his recording is a copositesnapshot of everything that was going on in the Jazz world of its tie['(*?B*'] fro the odal so!nds of 4iles" %ind of B.ue to the hard bopinf!sion of gospel and bl!es into bebop, to the O tie craze and inorharonies preferred by the E4y %avorite $hingsF John Coltrane L!artet tothe ne8t generation of !p-and-coing, front line soloists as representedby 2!bbard, Jordan, 0alton and 2eath.

/nd what a perfect conte8t for all of this aterial and personnel than tohave as its leader M J.J. Johnson M to !nify all of these eleents and havethe realize their potential.

7f the si8 trac#s that coprised the original , ichard Coo# and 3rian4orton had this to say abo!t 4&uarius in their The Pen4uin 7uide to

Jazz on CD: 6th 8dition 9 +ew 5or#6 eng!in 3oo#s, >??>]6



"(4&uarius’ is the #est e$idence yet of J.J.’s !reat skills as a composer7arran!er. 4s fellow7trom#onist Ste$e Turre points out in a thou!htfulliner7note to the au!mented reissue, it’s a work that is almost orchestralin conception, makin! full7use of the three7horn front line, and alsoWalton’s ele!ant accompaniment. rasses are pitched a!ainst sa*ophone

and piano in a wonderful contrapuntal de$elopment, and 1Tootie’ %eath!ets a rich sound out of the kit.( [p. :??].

/s $eo 4acero points o!t in theliner notes to the , E0hen J.J. finished coposing In Walked %orace, he

e8claied, oo# what I"ve doneN It"s 2orace Silver."F $he edi! tepot!ne is based on Ehyth ChangesF and contains the total s!rprise ofClifford Jordan ta#ing over in the iddle of a %reddie 2!bbard chor!s andcontin!ing it as tho!gh nothing had happenN J.J."s EsoloF on the t!neconsists of trading :"s, then "s, then >"s and then '"s with $ootie 2eathbefore Cedar ends the soloing with one of his perfectly crafted solos basedon evenly spaced eight-note phrases with ore than their share of f!n#.

$here are two versions of =at#ack , a straight-ahead % bl!es with a slic#head in *B: tie that is p!nct!ated by $ootie playing eight-note tripletson the cybal along with a stiff bac# beat on the snare dr!. 3esides acoo#ing introd!ction by Cedar, the e8tended version of =at#ack EP shows K!st how f!n#y J.J. co!ld be when he let go.F [Ibid]. In y opinion, this isthe best e8tended solo that J.J. ever p!t on record; yo!"ll hear phrasesand ideas on this trac# that he has never repeated on any other solo. 2eta#es the opening solo so well that he inspires great perforances frothe other ebers of the band, incl!ding one with %reddie playing overstop tie, as they all stretch o!t agnificently on this slow bl!es [CliffordJordan"s tenor solo verges on being a bar-wal#er" in placesN].

<inor <ist [naed by a eber of the a!dience at the Jazz 0or#shop in

San %rancisco] is according to J.J. M Ea dar# p!lseF [the p!lse" part beingreinforced by $ootie"s !se of typani allets on to tos. It is held



together by a vap aro!nd which J.J. weaves its bea!tif!l elody.

Shutter#u! is an !p-tepo inor bl!es written in a >?-bar for whoseseries of solos are separated by interl!des that have the sae rhyth[played in tie], b!t are based on different haronies. $ootie plays the

ElineF [elody] !sing the stic# across the snare dr! E#noc#ing so!ndFon the th beat of each bar that hilly Joe Jones !sed to drive the original<ilestones [on the 4iles &avis Col!bia alb! of the sae nae]. $hisc!t will swing yo! into ne8t wee#.

0ritten in @B tie, <ohawk , is a inor bl!es that was so naed by J.J.after he wrote the t!ne beca!se of Ethe Indian flavor in its harony.F

/dded to the a!gented version that was released on C& are &izzy<illespie"s lue 1n oo!ie, an !p-tepo coo#er and J.J."s Turnpike both of

which find all the ebers of the se8tet in fine for. Aach of these bon!strac#s offer e8cellent, e8tended solos by J.J. who is obvio!sly feeling verycofortable being bac#ed by the 0alton-2arper-2eath rhyth section.J.J."s playing on these two trac#s is ineffable and !st be heard to bebelieved.

$he best s!ary one co!ld offerfor J.J."s !sic and playing on J.J. Inc. is contained in Steve $!rre"sclosing insert notes paragraph6

"There are many wonderful trom#one players in 4mericaBs classical music L 'a)) 7 and they ha$e different areas of e*cellence that they #rin! to themusic. The profundity of J.J. Johnson is that he is totally #alanced in allareas 7 as a trom#onist, as a musician and as a #eautiful human #ein!.2What you are as a person comes out of the horn in the musicB3 %e hasno one area of e*cellence 7 at the e*pense of other areas. %e has ran!e

#oth hi!h and low, a hu!e sound, a flawless attack, dynamics. speed,swin! and soul, and yet all these !reat powers are only used to ser$e the



/ltho!gh I did not own any ofthe at the tie, I was even fort!nate eno!gh to hear soe of the '?Fand '>F "s that %ran# recorded for Capitol !nder the <%enton Presents Jazz= banner all of which have been collected and s!bseL!ently releasedas 4osaic ecords 4&-':)6

0ith o!tstanding arrangeents by3ill 2olan, tr!peter Sa +oto and alto sa8ophonist Charlie 4ariano Koining %ran# on the front line and a brilliant rhyth section of ete Jolly[p], 4a8 3ennett [b] and 4el ewis [d], it is regrettable that theserecordings didn"t have a wider distrib!tion th!s giving %ran# a greaternational e8pos!re.

3!t it was thro!gh an association that I had with pianist-vibist [anddr!er] 1ic %eldan that I #ept hearing abo!t the E0ait !ntil yo! hear%ran# on the date we K!st did with 2arold and and Stan evey.F 1ictor

was an !nass!ing and !nderstated fellow who too# his own talents forgranted and didn"t throw aro!nd praise lightly, if at all. So when he got



e8cited yo! K!st #new it had to be over soething very special.

9nfort!nately, it was to be a long wait, for altho!gh the !sic in L!estionhad been recorded in &eceber of '():, it wasn"t released !ntil '(:*,eight years after %ran#"s death.

0hen the !sic was !ltiatelyreleased as the alb! ree for A.. [Specialty S >'*'; 7JCC&- 'G*@->,eonard %eather coented in the original liner notes6

"The e*istence of the present $olume was unknown e*cept to those whohad taken part in it L and, particularly, the man who produced it, Da$id 4*elrod. 1=rank and I were e*cited a#out this al#um,’ 4*elrod recalls,1#ecause it was !oin! to #e the first hard #op al#um recorded andreleased on the West Coast. We wanted to !et away from that #land,stereotyped West Coast ima!e. We worked for weeks on plannin! the

personnel and the son!sM the results were terrific. It was a !reatdisappointment to us #oth that the record, for reasons which we ne$erunderstood, wasn’t released.’(

0hile ta#ing soe e8ception to the clai abo!t the first hard bop alb!on the 0est Coast [and deservedly so as he notes the pioneering wor# inthis regard by Clifford 3rown, C!rtis Co!nce and 2arold and], $ed <ioiain -est Coast Jazz: Modern Jazz in Ca.ifornia, /0)516* [+ew 5or#678ford 9niversity ress, '((>] goes on the state6

"With a stron! supportin! #and of composed of %arold @and, Stan @e$ey,@eroy :inne!ar and :ictor =eldman, Rosolino created some of his finestwork of the decade. The arran!ements are well craftedM familiarstandards such as 1Star Dust’ and K E1@o$e for Sale’G take on a new luster throu!h pro$ocati$e tempo and rhythm chan!es.( [p. >>'].



@o$e for Sale opens the alb!with the elody played behind Stan evey"s *B: atin fig!re that resolvesinto a wic#edly fast, do!ble-tied B bridge. $he blowing ta#es place ina slower, edi! tepo and %ran#"s and 2arold and"s solos RP establishiediately that this is a to!gh, no-holds-barred blowing sessionF[eonard %eather"s liner notes].

/ siilar, finger-popping edi! tepo is eployed on Chrisdee anoriginal by dr!er evey whose foot so!nds li#e it"s going to snapthro!gh the high-hat pedal as he ephatically shows the soloists where >and are and Edon"t yo! dare try to speed this thing !p.F It has been saidof evey that when he was playing tie yo! can set yo!r watch to it andthis c!t is a perfect e8aple of that tr!is. $he t!ne EP is a bebop linebased on a cycle of fifths, with a soewhat 4on#ish bridge.F [%eather]

$he ballad Twili!ht is an original 1ictor %eldan coposition that alsop!ts on display his s#ills as an arranger as there is no iprovisation !ntiland begins a solo well into the t!ne. %ran# plays the Ebeg!ilinglypensiveF elody with and so!nding the chord root in the bac#gro!ndover %eldan"s f!ll chording and coping. It is a st!nningly bea!tif!lpiece. Star Dust is the other ballad feat!red on the alb!.

$he title trac# =ree for 4ll is a >-bar bl!es original by osolino on whichhe eploys his considerable arsenal of trobone techniL!es [incl!dingeffortless so!nding triple-tong!ed lic#s] to deonstrate that he really canplay the bl!es. and and %eldan Koin in for a few chor!ses todeonstrated that they too are card-carrying ebers and the chartcoes to a close with a s!rprise endingN

There is /o ;reater @o$e is played in !nison by the horns and ta#en at a

crisp tepo that shows how wonderf!lly well evey and 1innegar wor#together and why the t!ne has been a Ka session stand-by ever since it



was written in '()*. $he t!nes chords ElayF so easily so as to a#e all ofthe solos so!nd effortless and !ncontrived.

Sneakyoso is a osolino original that eonard %eather describes asoffering the L!intet Ean ingenio!s vehicle, its attractive changes providing

good opport!nities for %ran# to wor# o!t. +ote the fine coping 1ictorf!rnishes for 2arold and before ta#ing over for his own solo. $he twohorns engage with Stan evey before the head ret!rns.F

/s was the case with ost of his recorded o!tp!t, %ran# was alwaysinterested in tepo and harony changes to help the !sic so!nd freshand new, and this is no less the case with everything that appears on %reefor /ll.

aired with J(J( nc , I can thin# of no finer recording than ree for A.. to

recoend to anyone wishing to hear the best of J.J. and %ran# at wor#.

4any years later, after all of the Aast Coastvers!s 0est Coast nonsense had died down, I saw J.J. [who had, by then,been in 2ollywood for a n!ber of years writing for $1 and the ovies]sitting with %ran# at &onte"s, a Jazz cl!b and !sicians hang-o!t in +orth2ollywood, C/. It was early in the evening before the set began and thetwo were having a L!iet dinner together.

I !st adit to not thin#ing very !ch abo!t it at the tie, after all,given the n!ber of $1, otion pict!re and recording st!dios locatedthere, !sicians having a eal or a drin# together in 2ollywood and itsenvirons is a coon eno!gh occ!rrence.

/lso, since that occasion, and especially after '(G:, it was always diffic!ltfor e to thin# abo!t %ran# and his !sic, given the tragedy associated

with his death. 4atters weren"t help !ch in this regard with the news ofJ.J."s s!icide in >??' after a protracted str!ggle with cancer.



2owever, soe @? years later, I cae across the following L!otation froJ.J. and it helped e to recall the eory of that L!iet dinner eetingand reinded e of how !ch I loved the playing of both of thesetrobone giants. $hat eory and this L!otation propted e to write

this piece as a loving trib!te to both of the6

"=rank Rosolino was a towerin! !enius and a trom#one $irtuoso in the 'a)) !enre. %is style was uni&ue and instantly reco!ni)a#le. %e was awarm, fun lo$in!, charmin! human #ein! and I miss his infectious!i!!le.( M J.J. Johnson

I g!ess li#e y &ad with $eagarden, J.J. pic#ed a good one in osolinoN

Posted by Jazz Profiles at 12:25 PM 0 comments Links to this post


https://www.blogger.com/comment.g?blogID=6853772569125614798&postID=2352107638468026113


http://jazzprofiles.blogspot.com/2008/08/jj-frank.html#links


http://www.blogger.com/email-post.g?blogID=6853772569125614798&postID=2352107638468026113




J.J. Johnson & Frank Rosolino

Documents

Transcript of J.J. Johnson & Frank Rosolino