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| Givin' Away The Store |
| Sonny Stitt |
első megjelenés éve: 1999
69 perc |
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| (1999)
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CD |
Kérjen
árajánlatot! |
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| 1. | The Champ
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| 2. | Tune-Up
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| 3. | I Don't Stand a Ghost of a Chance With You
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| 4. | 12!
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| 5. | Just Friends
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| 6. | Is You Is or Is You Ain't My Baby?
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| 7. | At Last
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| 8. | Exactly Like You
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| 9. | Constellation
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| 10. | Every Tub
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| 11. | You Can Depend on Me
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| 12. | Steamroller
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| 13. | Dig Dr. Woody
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Jazz / Bop
Sonny Stitt - Sax (Alto), Sax (Tenor)
Alan Dawson Drums
Billy Higgins Drums
Cedar Walton Piano
David Gahr Photography
Duke Jordan Piano
Gene Paul Mastering
George Duvivier Bass
Herbie Lewis Bass
Jimmy Cobb Drums
Junior Mance Piano
Leroy Williams Drums
Louis Hayes Drums
Page Simon Graphic Design
Roy Brooks Drums
Sam Jones Bass
32 Jazz launched a retrospective series called Giving Away the Store. These are gateway recordings to an artist's entire catalog. The first release in the series is from Sonny Stitt. This bebop saxophone giant veers from bright jazz hops to compelling blues instrumental ballads. As with other recordings in the Giving Away the Store collection, this album serves as an excellent introduction for the uninitiated or a representative sampler for the knowledgeable fan. ~ Tom Schulte, 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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