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Kérjen
árajánlatot! |
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| 1. | Cool Blues
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| 2. | Jack Spratt
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| 3. | This Is Always
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| 4. | Mister Son
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| 5. | Propapagoon
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| 6. | Dancing On The Ceiling
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| 7. | Everyone Does
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| 8. | Just You, Just Me
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| 9. | Ko-Ko
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| 10. | A Minor Sax
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| 11. | Lover Man
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| 12. | Reed And A Half
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| 13. | How High The Moon
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| 14. | I'll Tell You Later
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| 15. | Look For The Silver Lining
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| 16. | Easy Living
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| 17. | It's Hipper Than That
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Jazz / Bop
Recorded in Chicago, 1958
Sonny Stitt (as & ts on #2, 4, 6, 8 & 16)
with unidentified rhythm section [on 1-8]
Barry Harris (p), William Austin (b) and Frank Gant (d) [on 9-17]
2 LP on 1 CD:
Tracks #1-8 from the 12" album "Sonny Stitt" (Argo/Cadet LP 629)
Tracks #9-17 from the 12" album "Burnin'" (Argo/Cadet LP 661)
Sonny Stitt played alto sax in Charlie Parker’s style, but with such personal conviction, such emotional sureness and without any hint of slickness, popularization, or stylistic immaturity, that he created a dilemma about originality or individuality in jazz. The picture was further complicated by the fact that his tenor style was quite different and yet played with equal individuality and feeling. And, of course, he knew that what Parker did was not “run the changes” but play melodic ideas.
In these recordings Stitt is all over both his horns, communicating directly and deeply. All the alto sax performances - he plays tenor only on 5 tracks - are full of fire and brimstone. The tunes are for the most part Stitt’s originals, plus two classic Bird pieces and seven standards, but they never sound tired, no matter how many times they’ve been heard before, when they are played with such intensity, vibrancy and imagination as here.
Newly and carefully remastered.
Sonny Stitt recorded extensively throughout his career, so frequently that he often could not remember his sessions a year later. This informal session, cut in Chicago in 1958, is one that Stitt apparently forgot about, which is why the personnel (probably a local rhythm section that might include pianist Barry Harris) has never been definitely identified. Stitt, doubling on alto and tenor, plays some songs with unfamiliar titles, but all of the chord changes of the originals (half of them blues) are fairly basic. He is in above-average form, making this set of interest to bebop collectors.
---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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