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Kérjen
árajánlatot! |
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| 1. | I Can't Give You Anything But Love
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| 2. | Au Privave
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| 3. | The Gypsy
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| 4. | I'll Remember April
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| 5. | Scrapple from the Apple
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| 6. | Moten Swing
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| 7. | Blues for Pres, Sweets, Ben and All the Other Funky Ones
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| 8. | Easy Does It
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| 9. | I Didn't Know What Time It Was [*]
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| 10. | I Remember You [*]
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| 11. | I Know That You Know [*]
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Jazz / Bop, Mainstream Jazz
Sonny Stitt - Sax (Alto), Sax (Tenor)
Oscar Peterson - Piano
Ed Thigpen - Drums
Herb Ellis - Guitar
Ray Brown - Bass
Stan Levey - Drums
* Andy Kman - Production Coordination
* Harry Weinger - Reissue Supervisor
* Hollis King - Art Direction
* Isabelle Wong - Design
* James Isaacs - Liner Notes
* Joseph M. Palmaccio - Digital Remastering
* Kevin Reeves - Mastering
* Norman Granz - Producer
* Phil Schaap - Production Assistant, Tape Vault Research
* Stephen Frostberg - Liner Notes
This CD combines together a complete session that Sonny Stitt (doubling on alto and tenor) did with the 1959 Oscar Peterson Trio (which includes the pianist/leader, bassist Ray Brown and drummer Ed Thigpen) and three titles from 1957 with Peterson, Brown, guitarist Herb Ellis and drummer Stan Levey. The music very much has the feel of a jam session and, other than a themeless blues, all of the songs are veteran standards. Highlights of this fine effort include "I Can't Give You Anything but Love," "The Gypsy," "Scrapple from the Apple," "Easy Does It" and "I Remember You." Lots of cooking music.
--- 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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