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| Now! [UHQ_CDJapan] |
| Sonny Stitt |
japán
első megjelenés éve: 1963 |
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| (2020)
[ LIMITED ]
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CD |
| 8.841 Ft
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| 1. | Surfin'
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| 2. | Lester Leaps In
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| 3. | Estralita
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| 4. | Please Don't Talk About Me When I'm Gone
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| 5. | Touchy
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| 6. | Never ---SH!
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| 7. | My Mother's Eyes
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| 8. | I'm Getting Sentimental over You
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Jazz / Bop
Sonny Stitt - Sax (Tenor), Sax (Alto)
Al Lucas Bass
Bob Thiele Original Recording Producer
Don Bronstein Photography, Cover Photo
Hank Jones Piano
Jack Bradley Photography
Joe Lebow Liner Design
Les Davis Liner Notes
Osie Johnson Drums
Robert Flynn Cover Design
Rudy Van Gelder Engineer
Takao Ogawa Liner Notes
Japanese 24 Bit/96KHz remastered reissue of 1963 album originally issued on Impulse! out-of-print in the US. Packaged in a limited edition miniature gatefold LP sleeve.
Originally issued by the Impulse! label, Now! was one of those albums Sonny Stitt made in the 1960s (this one in 1963) that was part of his transition from the alto to the tenor sax, a transition necessary to shuck off the mantle that he was little more than a Charlie Parker clone. While Parker's influence remained a basic part of Stitt's articulation and phrasing, he eventually became a foremost practitioner based on his own significant jazz accomplishments. This album is virtually alto free, with the small sax used on just one tune, "Never-Sh!" Also, the almost frenetic, egoist display of high-speed fingering and dazzling work with chord changes that characterized some of Stitt's early work is virtually absent from this session. The play list lets Stitt bring to the table his capacity to be at ease in a variety of scenarios, from his bouncy, boppish "Surfin'" to an imaginative improvisation on "Estralita" (an otherwise unimaginative piece of fluff) to a lovely ballad interpretation of "I'm Getting Sentimental Over You." Stitt is joined by the first-rate rhythm section of Hank Jones, Al Lucas, and Osie Johnson. The synergy of this group is apparent from the outset and stays right through to the end of the session. Jones gets plenty of time to display his unmatched prowess on the piano on such tunes as "Please Don't Talk About Me When I'm Gone." For some reason, Johnson's drums are a bit chunky on some cuts, which is out of character for him. But there is little harm done. This album is a significant entry in the large Sonny Stitt discography, and is a welcome CD reissue. ~ Dave Nathan, 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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