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| Sonny's Blues - Recorded Live at Ronnie Scott's Club [ ÉLŐ ] |
| Sonny Stitt |
első megjelenés éve: 1964
67 perc |
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| (2000)
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CD |
Kérjen
árajánlatot! |
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| 1. | Ernest's Blues
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| 2. | Home Sweet Home
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| 3. | M-O-T-H-E-R
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| 4. | My Mother's Eyes
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| 5. | Sonny's Theme Song
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| 6. | Blues With Dick and Harry
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| 7. | It Could Happen to You
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| 8. | Oh, Lady Be Good
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| 9. | Interview With Sonny Stitt
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Jazz / Bop
Sonny Stitt - Vocals, Piano, Sax (Tenor), Sax (Alto)
Benny Goodman Drums
Bill Eyden Drums
Chris Lewis Preparation
David Redfern Photography
Dick Morrissey Sax (Tenor)
Ernest Ranglin Guitar
Harry South Piano
Leslie Tomkins Preparation
Phil Bates Bass
Philip Farlow Assistant
Ray Staff Mastering, Preparation
Rick Laird Bass
Terry Shannon Piano
Sonny Stitt is featured in a series of jam sessions recorded in 1964 at Ronnie Scott's in London. While the recording is rather primitive, sounding somewhat muffled and not really picking up all of the instruments equally well, there are some strong performances. The opener, "Ernest's Blues," is an extended piece by guitarist Ernest Ranglin that also features Stitt, who starts on piano initially and then makes a late entrance on tenor sax. Also of interest are the loping treatment of "Oh, Lady Be Good" and a swinging "It Could Happen to You." Stitt adds a good-natured vocal to "M-o-t-h-e-r," which is dedicated to his adoptive mother. The mediocre sound and patchwork nature of this live CD make it fall far short of being essential for most jazz fans, though devoted collectors of Sonny Stitt may want to look for it if they can find it at a reasonable price. ~ Ken Dryden, 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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