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Don't Call Me Bird!
The Sonny Stitt Quartet, Sonny Stitt feat. Lou Levy, Leroy Vinnegar & Mel Lewis
spanyol
első megjelenés éve: 2007
(2007)

CD
Kérjen
árajánlatot!
TÖRÖLT!
Kosaramba teszem
1.  I Cover The Waterfront
2.  Lazy Bones
3.  Sunday
4.  Just Friends
5.  All Of Me
6.  Two Bad Days Blues
7.  It's You Or No One
8.  Blue Smile
9.  Lonesome Road
10.  The Gipsy
11.  That's The Way To Be
12.  There Is No Greater Love
13.  Jaunty
14.  Blue Sunday
15.  The Way You Look Tonight
Jazz / Hard Bop

Recorded at Radio Recorder Studio, Hollywood, on December 21, 22 & 23, 1959

Sonny Stitt (as)
Lou Levy (p), Leroy Vinnegar (b), Mel Lewis (d)

Ten years before he made these recordings, during a brief 1959 sojourn in Los Angeles, Sonny Stitt, already weighed down by constant comparison with Charlie “Bird” Parker, turned partly away from alto, which he loved, to the tenor saxophone. And, though from then on he customarily used both instruments, the alto remained his prime horn of choice, as is abundantly clear here. Cushioned by a solidly swinging West Coast rhythm section led by the sensitive piano of Lou Levy, he is a powerful, melodic, superlatively thoughtful and intense performer. This is Stitt at the top of his form, playing with slashing authority and a piledriver beat.


Inevitable comparisons to fellow bop alto saxophonist Charlie Parker always dogged Sonny Stitt, and he was not appreciative of that ultimate assessment. So the title of this recording expresses his disdain for the rivalry and similarity, real or imagined. Fact is, Stitt's acumen was all his own, busting away from Parker's influence a good ten years before these 1959 sessions. Taken from the original albums Saxophone Supremacy and Sonny Stitt Swings the Most, he hooks up with a solid gold Hollywood, CA based rhythm team of pianist Lou Levy, bassist Leroy Vinnegar, and drummer Mel Lewis. The three cannot be more supportive, viable, or musically adept in giving Stitt a launching pad to articulate his original notions. Most of these tunes are standards adapted to the bop format Stitt mastered, and his fluidity in playing melodies on classics "I Cover the Waterfront," "Just Friends," and "All of Me" makes you realize what an advanced, expert player he was. Somehow Stitt is able to shade every nuance with brawn, tackle each melody with perfection, and stamp his personal brand in the even most well-worn tune. The empathetic Lou Levy in particular is on his game, listening, supporting, comping, complementing, and driving Stitt to lofty heights, while Vinnegar and Lewis are spot-on with every note. There's a signature take of "It's You or No One," made popular by tenor saxophonist Dexter Gordon, but it easily could have been Stitt via this version. Two other pieces, "Lonesome Road" and "The Gipsy" demonstrate where Stitt's soulfulness might eclipse Parker's, while his atypical ballad treatment of "There Is No Greater Love" has him at his most patient and saintly. There are also five original compositions of the saxophonist, ranging from the upbeat basic bop blues of "Two Bad Days Blues," the frenetic, hot and heavy "Blue Smile," to a hip swinging "Jaunty" with an involved melody surrounding basic changes but not a basic improvisation. Also included are the "Yardbird Suite"-like "Blue Sunday," and "That's the Way to Be" a lighthearted tune, which purportedly is Stitt's first recording as a vocalist -- and he sounds great in a Babs Gonzales-cum-Nat King Cole style. On the final track, "The Way You Look Tonight," he plays tenor sax, an instrument he picked up a decade prior in response to the copy cat accusationists, and a horn he would play more (along with baritone on occasion) into the '60s. This is a precious document for Sonny Stitt, dubbed in the liner notes "a very good listening album." It is one every fan of his should own, and is highly recommended for others wishing to discover this magical musician. ~ Michael G. Nastos, 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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