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CD |
| 5.889 Ft
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| 1. | Laura
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| 2. | Seranada Espana
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| 3. | I Hear a Rhapsody
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| 4. | Lovers Concerto
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| 5. | Cherokee
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| 6. | Sonny's Blues
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| 7. | The Night Has a Thousand Eyes
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Jazz / Bop
Sonny Stitt - Sax (Tenor), Sax (Alto)
Richie Cole - Sax (Alto)
Alan Turnbull Drums
Ed Gaston Bass
Jack Wilson Piano
John Frollich Engineer
Peter Noble Liner Notes, Producer
Battle Of The Saxes finds these two great jazz sax players in fine form, and although there was a great mutual admiration and respect between them, it is obvious on this recording that each intended to show the other his stuff. The listener is rewarded with the result.
SONNY STITT and RICHIE COLE toured Australia in December 1981.
At the time, Sonny Stitt was being hailed by jazz critics everywhere for his miraculous comeback after having, for many years a serious alcohol problem. It is sad that this great return to form of Sonny Stitt was cut short by his untimely death in 1982. He was in fact, a titan of the bebop era and after the death of Charlie Parker in 1955, was regarded by many as the keeper of the flame.
Although Charlie Parker received the acclaim, Sonny Stitt was a truly original sax player. It is said, he may have been a victim of the critics who failed to bestow upon him the critical acclaim he so richly deserved, and perhaps due to frustration he drank - solidly for 30 years. To quote the noted jazz critic Stanly Crouch, "On those bad nights, he had taken on the pathetic buffoonery of those whose personalities are dominated by alcohol. His sets would be short and he would bemoan the deaths of his fellow bebop giants in disconnected monologues that would often culminate in almost tearful sputterings about his faith in Jesus. Shortly thereafter he would be at the bar, stooped over a cognac".
In 1979, Stitt gave up drinking and returned - for such a short period – to the blistering genius of his youth. Critics hailed his playing and fans flocked to hear his music. Richie Cole, the protege of Phil Woods, in 1981 was the hottest, new alto sax player in the business. His silky hot, free flowing bop style clearly showed the influence of Charlie Parker, and yet his style is unique and instantly recognisable as his own.
In December 1981 these two jazz greats toured together for the first time and made this recording, their only one. For the serious jazz listener, the two distinctly different styles of Sonny Stitt and Richie Cole are apparent.
For those of you who are not as familiar with their style, in the true respect that is shown between these musicians, Richie Cole plays thefirst solo and his is then followed by Sonny Stitt.
BATTLE OF THE SAXES finds these two great jazz sax players in fine form, and although there was a great mutual admiration and respect between them, it is obvious on this recording that each intended to show the other his stuff. The listener is rewarded with the result.
This session is a real rarity for it teams together Sonny Stitt (mostly playing tenor) and altoist Richie Cole (along with pianist Jack Wilson, bassist Ed Gaston and drummer Allan Turnbull) for the first and only time. Stitt and Cole inspire each other on the seven boppish selections and, even if little surprising occurs, the heated exchanges make this CD worth searching for. ~ 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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