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| The Last Sessions Volumes One and Two |
| Sonny Stitt |
első megjelenés éve: 2003
73 perc |
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| (2003)
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CD |
| 3.324 Ft
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| 1. | Steamroller
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| 2. | I'll Be Seeing You
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| 3. | Out of Nowhere
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| 4. | Sweet Georgia Brown
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| 5. | Keepin' It
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| 6. | This Is Always
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| 7. | Makin' It
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| 8. | Angel Eyes
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| 9. | At Last
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| 10. | Bouncing with Bud
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| 11. | As Time Goes By
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| 12. | Swifty
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| 13. | Sugar
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| 14. | Jumpin' the Blues
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Jazz / Bop, Hard Bop
Sonny Stitt - Sax (Alto), Sax (Tenor)
Andrew Sussman Liner Notes
Bill Hardman Trumpet
Bob Porter Liner Notes, Producer
Gene Paul Reissue Mastering
George Duvivier Bass
Jimmy Cobb Drums
Junior Mance Piano
Lee Tanner Photography
Malcolm Addey Engineer
Page Simon Graphic Design
Walter Davis Piano
Walter Davis, Jr. Piano
It is difficult to believe after listening to this two-CD set, that Sonny Stitt only had six weeks left in his life; he already had cancer but did not know it. Switching between tenor and alto, Stitt on the first disc is heard in top form with pianist Junior Mance, bassist George Duvivier, and drummer Jimmy Cobb while the second CD (recorded the following day) adds trumpeter Bill Hardman and has Walter Davis in Mance's place. As was typical of Stitt's career, the music throughout is high-quality bebop with the saxophonist stretching out creatively over common chord changes. This double CD (a straight reissue of two single LPs) shows that Sonny Stitt went out on top. ~ 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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