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| Just in Case You Forgot How Bad He Really Was |
| Sonny Stitt |
első megjelenés éve: 1981
66 perc |
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| (2003)
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CD |
Kérjen
árajánlatot! |
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| 1. | Dig Dr. Woody
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| 2. | Star Eyes
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| 3. | Everything Happens to Me
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| 4. | The Night Has a Thousand Eyes
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| 5. | Ballad Medley: How Deep Is the Ocean/Smoke Gets in Your Eyes/My ...
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| 6. | Solo Excerpt
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| 7. | Lover Man
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| 8. | Laura
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| 9. | Wee
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| 10. | Outro
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Jazz / Bop
Sonny Stitt - Sax (Tenor), Sax (Alto)
Adam Dorn Producer, Liner Notes
Amy DiDonato Production Coordination
Billy Higgins Drums
Bobby Hutcherson Vibraphone
Cedar Walton Piano
Chuck Stewart Photography, Cover Photo
Gene Paul Mastering
Herb Wong Liner Notes, Producer
Herbie Lewis Bass
Joel Dorn Producer
John "Captain John" Handy Sax (Tenor), Sax (Alto)
John Handy Sax (Tenor), Sax (Alto)
Lance Goler Producer
Nancy Dwyer Graphic Design, Design
Page Simon Design, Graphic Design
Phil Edwards Engineer
Richie Cole Sax (Alto)
Scott Paul Sonic Solutions, Mastering
Although Joel Dorn's 32 Jazz label mostly concentrates on repackaging reissues from the Muse catalog, there have been some important discoveries. This 1997 CD has a previously unreleased Sonny Stitt club appearance that took place in San Francisco's Keystone Korner in September 1981. It is a special all-star concert in which Stitt splits his time between tenor and alto and is joined by pianist Cedar Walton, bassist Herbie Lewis, drummer Billy Higgins, and (on a few numbers) vibraphonist Bobby Hutcherson, altoist Richie Cole, and John Handy on alto and tenor. Stitt, a master of the bebop vocabulary, was not an innovator, but he was a fiery competitor who could blow most musicians off the stand when he chose to. In this case, he had a lot of respect for Cole and Handy, but still played at his best, just in case. The CD is mostly a showcase for the leader, who is well featured on the ad lib "Dig Dr. Woody," "Everything Happens to Me," and "Laura." Other than a five-song ballad medley that features each of the saxophonists plus Walton and Hutcherson, not that much is heard from Handy, while Cole (who gets in a few good licks) is generally overshadowed by Stitt. Other highlights include lengthy renditions of "Lover Man" and "Wee." Sonny Stitt recorded scores and scores of bop-oriented sessions throughout his productive career, but his fans will still be happy that 32 Jazz has added such a strong date to his discography. Recommended. ~ Scott Yanow, All Music Guide
Sonny Stitt
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Feb 02, 1924 in Boston, MA
Died: Jul 22, 1982 in Washington, D.C.
Genre: Jazz
Styles: Bop, Hard Bop, Mainstream Jazz, Soul-Jazz, Standards
Charlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Sitt. There was almost note-for-note imitation in several early Stitt solos, and the closeness remained until Stitt began de-emphasizing the alto in favor of the tenor, on which he artfully combined the influences of Parker and Lester Young. Stitt gradually developed his own sound and style, though he was never far from Parker on any alto solo. A wonderful blues and ballad player whose approach influenced John Coltrane, Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad. He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band in 1945, playing alongside other emerging bebop stars like Gene Ammons and Dexter Gordon. Stitt later played in Dizzy Gillespie's big band and sextet. He began on tenor and baritone in 1949, and at times was in a two-tenor unit with Ammons. He recorded with Bud Powell and J.J. Johnson for Prestige in 1949, then did several albums on Prestige, Argo, and Verve in the '50s and '60s. Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s. After a brief stint with Miles Davis in 1960, he reunited with Ammons and for a while was in a three-tenor lineup with James Moody. During the '60s, Stitt also recorded for Atlantic, cutting the transcendent Stitt Plays Bird, which finally addressed the Parker question in epic fashion. He continued heading bands, though he joined the Giants of Jazz in the early '70s. This group included Gillespie, Art Blakey, Kai Winding, Thelonious Monk, and Al McKibbon. Stitt did more sessions in the '70s for Cobblestone, Muse, and others, among them another definitive date, Tune Up. He continued playing and recording in the early '80s, recording for Muse, Sonet, and Who's Who in Jazz. He suffered a heart attack and died in 1982.
---Ron Wynn and Bob Porter, All Music Guide |
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