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Kérjen
árajánlatot! |
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| 1. | Flame and Frost
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| 2. | Let's Play Chess
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| 3. | Double Dip
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| 4. | Our Day Will Come
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| 5. | My Main Man
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| 6. | The Night Has a Thousand Eyes
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| 7. | Broilin'
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| 8. | Soul in the Night
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| 9. | It's Awfully Nice to Be with You
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| 10. | Hot Line
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| 11. | Home Stretch
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| 12. | The Spies
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| 13. | One Alone
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| 14. | Sneakin' Up on You
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Jazz / Bop, Hard Bop
Sonny Stitt - Liner Notes, Sax (Tenor), Sax (Alto)
Bennie Green - Trombone
Bunky Green - Sax (Alto)
Bobby Buster Organ
Bryce Roberson Guitar
Dorel Anderson Drums
Jim Snidero Author
Joe Diorio Guitar
Joe Segal Liner Notes
Maurice White Drums
Odell Brown Organ
This exceptional release features alto saxophonist par excellence Sonny Stitt in two different quintet settings. The first session features Stitt accompanied by trombonist Bennie Green on the front line, with a rhythm section consisting of organist Bobby Buster, guitarist Joe Diorio and drummer Dorel Anderson. The date was recorded in Chicago, on March 10 & 11, 1964 and features three renditions of classic standards in addition to four Stitt compositions. The second date recorded in Chicago on April 15, 1966 featured a similar instrumentation as the previous session with the one exception being the front line. This time it is alto saxophonist Bunky Green joining Stitt up front with a supporting cast including organist Odell Brown, guitarist Bryce Roberson and drummer Maurice White, who would later found the legendary band Earth, Wind & Fire. This release features Stitt on both the alto and tenor saxophone.
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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