The goofball cover image was Rollins’ idea, and indeed “I’m an Old Cowhand,” “Wagon Wheels,” and the title track establish a playful Western theme. But the occasion was simply a Los Angeles session in early 1957 with bassist Ray Brown and drummer Shelly Manne. The piano-less format, allowing Rollins greater freedom on tenor sax, is something he would soon revisit on A Night at the Village Vanguard and Freedom Suite. Bouncing off the impeccable restraint of the rhythm section (and some wry clip-clopping hoof sounds from Manne), Rollins casually unfurls a manifesto of modern jazz improvising, adding an Ellington ballad and the original “Come, Gone” (a variation on “After You’ve Gone”) for good measure.