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Kérjen
árajánlatot! |
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| 1. | My Blue Heaven
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| 2. | The Saber
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| 3. | Katea
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| 4. | Fools Rush In
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| 5. | Look Down That Lonesome Road
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| 6. | I Want to Go Home
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| 7. | Hello Dolly
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| 8. | Better all the Time
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| 9. | You'd Better Love Me
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| 10. | Night Song
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| 11. | A Room Without Windows
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| 12. | Gimme Some
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| 13. | Loads of Love
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| 14. | If I Gave You
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Jazz / Bop
Sonny Stitt (as & ts), Zoot Sims (ts), John Young (p), Sam Kidd (b), Philip Thomas (d) / Thad Jones (tp), Jimmy Cleveland (tb), Phil Woods (as), Budd Johnson, Jerome Richardson (ts), Roger Kellaway, Walter Bishop, Jr (p), Milt Hinton (b), Osie Johnson (d)
Tracks #1-6 from "Inter-Action" (Cadet LP 760).
Recorded in Chicago, on January 25, 1965
Sonny Stitt & Zoot Sims (as & ts), John Young (p), Sam Kidd (b) and Philip Thomas (d)
Tracks #7-14 from "Broadway Soul" (Colpix CP 499).
Recorded in New York, on February 13, 1965
Sonny Stitt (as & ts), Zoot Sims (ts), Thad Jones, Ernie Royal (tp), Jimmy Cleveland (tb), Phil Woods (as), Budd Johnson, Jerome Richardson (ts), Roger Kellaway or Walter Bishop, Jr. (p), Milt Hinton (b) and Osie Johnson (d)
This release contains the complete recordings of saxophone greats Zoot Sims and Sonny Stitt, including the 1965 albums "Inter-Action" and "Broadway Soul" in their entirety for the first time ever on CD.
This session are consistently swinging and have a solid supporting cast that includes John Young on piano. The Sims-Stitt collaboration is of particular interest as are Sims's rare alto solos on his own date. Worth searching for.
Sonny Stitt (doubling on alto and tenor) performs eight songs from Broadway shows on this LP while accompanied by a ten-piece group filled with all-stars. Except for "Hello Dolly," none of the material is well-known and, since there is only 31 minutes of music on the LP, this set is far from essential. However Stitt's solos generally uplift the material and the saxophonist's fans will want the collector's item.
---Scott Yanow -All Music Guide
"In order to be good, music must be creative; but more than that it should be spontaneous. If you rehearse something too much, it becomes a bore. I hate a set routine. I want to be free to do things the way I feel them."
---Sonny Stitt
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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