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| Mr. Bojangles [Japan] |
| Sonny Stitt |
japán
első megjelenés éve: 1973 |
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| (2007)
[ LIMITED ]
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CD |
| 6.609 Ft
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| 1. | Mr. Bojangles
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| 2. | World Is a Ghetto
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| 3. | Killing Me Softly With His Song
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| 4. | Blue Monsoon
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| 5. | Got to Be There
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| 6. | Fifty Per Cent
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| 7. | Ben
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Jazz / Bop
Sonny Stitt - Sax (Alto)
Charles McCracken Cello
Cornell Dupree Guitar
David Nadien Violin
Emanuel Green Violin
Esmond Edwards Producer
Gene Orloff Violin
George Marge Flute, Oboe
George Ricci Cello
Gloria Agostini Harp
Harold Kohon Violin
Harry Lookofsky Violin
James Buffington French Horn
Jimmy Johnson, Jr. Drums
Joseph Malin Violin
Paul Gershman Violin
Phil Kraus Xylophone, Percussion, Vibraphone
Richard Davis Bass (Electric)
Sir Roland Hanna Piano (Electric)
Warren Smith Percussion
24bit Digitally Remastered Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.
Mr. Bojangles pairs Sonny Stitt with arranger Don Sebesky for one of the smoothest and most mainstream-facing dates of the saxophonist's career. Sebesky's luminous treatments underscore the elegance of Stitt's soulful alto and tenor leads--Roland Hanna's graceful electric piano leads the music even closer to funk, but the overall emphasis is more on atmosphere than rhythm. The material likewise spotlights ballads and slow-burn groovers, borrowing liberally from the pop charts for tunes including "Killing Me Softly with His Song" and "Ben"--even War's "The World Is a Ghetto" simmers instead of boils. ~ Jason Ankeny, 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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