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| Best of The Rest |
| Sonny Stitt |
első megjelenés éve: 1990
63 perc |
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| (1990)
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CD |
Kérjen
árajánlatot! |
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| 1. | I'll Walk Alone
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| 2. | I Got It Bad (And That Ain't Good)
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| 3. | My Buddy
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| 4. | Red Top
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| 5. | Is You Is or Is You Ain't My Baby?
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| 6. | At Last
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| 7. | Bye Bye Blackbird
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| 8. | Swifty
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| 9. | As Time Goes By
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| 10. | Sweet and Lovely
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| 11. | It Might as Well Be Spring
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| 12. | The Good Life
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Jazz / Bop
Sonny Stitt - Sax (Alto), Sax (Tenor)
Adam Dorn Producer
Amy DiDonato Production Coordination
Barry Harris Piano
Bill Hardman Trumpet
Billy Higgins Drums
Bob Porter Producer
Don Schlitten Producer
Duke Jordan Piano
Gene Paul Mastering
George Duvivier Bass
Jimmy Cobb Drums
Joel Dorn Producer
Leroy Williams Drums
Nancy Dwyer Design
Page Simon Design
Roy Brooks Drums
Sam Jones Bass
Walter Davis Piano
Joel Dorn of 32 Jazz is adamant in the brief liner notes to this 1998 CD that he is finished reissuing all of what he considers to be the most significant Sonny Stitt recordings in the Muse catalog. Tune Up!, Constellation, a newly discovered live set, and The Champ were put out in full. Of Stitt's remaining six Muse albums, Dorn only considers these dozen selections (which, oddly enough, include one number from The Champ) to be worth bringing back. It is a pity that he considers most of In Style, Blues for Duke, My Buddy, and Sonny's Back to be inferior, but he is clearly inaccurate in only reissuing four selections from the two volumes titled The Last Stitt Sessions, since the altoist/tenor saxophonist was in fine form on what would be his final recordings. Taken as a whole, this single CD is a good sampling of Stitt's work, with the highlights including "I Got It Bad," "Red Top," "Bye Bye Blackbird," and "It Might as Well Be Spring" (the latter is a duet with bassist George Duvivier). The sidemen include pianists Barry Harris, Walter Davis, and Duke Jordan, bassists Duvivier and Sam Jones, drummers Jimmy Cobb, Billy Higgins, Leroy Williams, and Roy Brooks, and trumpeter Bill Hardman. Excellent music, but those listeners not owning the original LPs may wonder "Where's the rest of it?" ~ 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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