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Kérjen
árajánlatot! |
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| 1. | All God's Chillun Got Rhythm
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| 2. | Answering Service
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| 3. | Tangerine
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| 4. | Night Crawler
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| 5. | Who Can I Turn To?
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| 6. | Star Eyes
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| 7. | Diane
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| 8. | Someday My Prince Will Come
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| 9. | Easy To Love
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| 10. | What's New?
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| 11. | Big C's Rock
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| 12. | They Say It's Wonderful
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| 13. | Please Don't Talk About Me When
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| 14. | 42639
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Jazz / Bop
Sonny Stitt - Sax (Tenor), Sax (Alto)
Don Patterson - Organ
Ahmad Basheer Liner Notes
Billy James Drums
Cal Lampley Producer
Don Schlitten Cover Photo
Kirk Felton Remastering
Ozzie Cadena Producer
Rudy Van Gelder Engineer
Edward "Sonny" Stitt and Don Patterson forged what was surely one of the outstanding, long-term saxophone/organ pairings. The ace multi-saxophonist Stitt (1924-1982) was among the first of the bebop virtuosi to embrace the organ's power and many tonal possibilities; Patterson (1936-1988), who began as a piano player, was a most tasteful, non-grandstanding master of the Hammond B-3. From 1961 until 1969, Stitt and Patterson recorded together at least 13 times for seven different labels, with the vast majority on Prestige. This set, with Stitt wailing on alto only, combines a pair of vibrant LPs from 1965 (Stitt was the leader on Night Crawler, Patterson on The Boss Men), plus two numbers from a 1964 Stitt album, Shangri-La. The coolly burning Billy James is the drummer throughout. Although blues 'n' boogaloos were au courant for saxophone-organ bands in 1965--and are, indeed, represented here--Stitt and Patterson focus mostly on enduring standards, which receive timeless readings.
In another of those two-fers that are going to tangle discographies for some time to come, this bears the title of a Don Patterson album, The Boss Men, and includes all of the material from that LP. However, this CD, though it's also called The Boss Men, is billed to both Sonny Stitt and Don Patterson, and combines the original Patterson The Boss Men LP with another album cut in 1965, Night Crawler, that was billed to Sonny Stitt, although it featured the exact same lineup (Stitt on alto sax, Patterson on organ, Billy James on drums) as The Boss Men. Not only that, the CD adds two cuts from a Patterson 1964 LP, Patterson's People, also featuring the Stitt-Patterson-James trio. As for the original The Boss Men, it's a respectable straight-ahead jazz-with-organ session. It's also very similar to so many other Prestige dates from the mid-'60s -- not to mention the other dates with featured the exact same three players as this LP does -- that it challenges the reviewer to come up with anything new, fresh, and exciting to say about the music. It's an even-tempered mix of up-tempo tunes and more meditative ones, the only original being Patterson's "Big C's Rock," which is far by the bluesiest and most riff-driven tune of the bunch. Night Crawler is a standard Stitt Prestige session (not to say a standard mid-'60s Prestige jazz session) that's not so much soul-jazz as solid, unexceptional straight-ahead boppish jazz with organ (just two of the six numbers are Stitt originals). He swings pretty hard on the opener, "All God's Chillun Got Rhythm," in which Patterson takes his own solo, with a skittering intensity that makes it the highlight of the LP. The soul-blues element comes more to the fore on the title track, with its syncopated beat; a bit of afro-cuban tempo sneaks into "Star Eyes"; and the interpretation of the pop standard "Who Can I Turn To?" is the lone slowie. ~ Richie Unterberger, 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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