Sonny Stitt

[freddydwight]

freddy was a fan of sonny stitt long before he died. here is an excerpt from Professor freddy's Jazz & Blues University that lays it out.

Born: Edward Stitt, February 2, 1924, Boston; Died: July 22, 1982. Sonny Stitt is freddy's all-time favorite sax player. Stitt did it all -- blues, swing, jazz, beebop, freeform, acid -- you name it. Why doesn't freddy dig Coltrane or Charlie Parker? Sure, freddy digs those guys, but not as much. Stitt is sometimes referred to as Parker's protege, but Stitt went his own way. The only sax player alive today who comes close to Sonny is another Sonny: Sonny Rollins. Stitt and Rollins played duets with Dizzy Gillespie on a CD ("Dizzy Gillespie Duets") released on July 25, 1988. If you can find the CD, buy it. It is one of the best freddy has ever heard. Click on the above link to read Dave Loennig's comments and learn why Stitt hasn't gotten his due from the jazz world. Dave's website has really developed into his own Jazz University. You will enjoy your visit. Very nice.

freddy found Stitt's first CD, "Sonny Stitt," which was reissued by MCA. They think it was recorded in Chicago in 1958 when Stitt was 34. It is blazin'. Following is a short bio from the AllMusic Guide at allmusic.com, with credit to the authors:

Review: "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 was one of the influences on John Coltrane, Stitt could rip through an uptempo 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 rejoined 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' that 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

B) freddy

Edited July 28, 2004 by freddydwight

[Jim R]

Welcome, Freddy. Check it out:

Stitt threads

[freddydwight]

thx, m8, for the threads. took 'em all in.

B) freddy

[Brad]

I think he's gotten a little bit of his due with the Mosaic. I think that turned a lot of people onto Sonny's magic. He was one never to back down from a challenge and often came out ahead. I think somebody said that when to records where he was the leader, he had the most. With his last sessions cd that was recently reissued it was said that he went out on top. He did!

[freddydwight]

it's interesting that stitt didn't need an audience like rollins does. (rollins always said he didn't care much about his studio recordings; he preferred to be in front of an audience.) in the studio, stitt could kick as good (or better) than he did live and onstage. but that must have been his insular nature. he went inside himself to get the jazz, and it flowed out no matter who was listening.

B) freddy

Edited July 29, 2004 by freddydwight

[Guest che]

Just came across this thread.

One of the first records of post-40's jazz I came across was "Only the Blues".

I am curious as to were Stitt stands in jazz history?

He had some drug problems, which perhaps influenced his playing, and to some extent he lived in the shadows of Charlie Parker.

Any thoughts?

Che.

[Cornelius]

"He had some drug problems, which perhaps influenced his playing [...]" [che]

Influenced in what way?

[Guest che]

"He had some drug problems, which perhaps influenced his playing [...]" [che]

Influenced in what way?

Well his tone and focus may have been affected by his drug addictions.

In my view he lacked intricacy and I feel his drug problems contributed to this, and he was never the 'man' his talents deserved.

Che.

[Cornelius]

His tone was beautiful, and I don't hear him lacking focus nor intricacy. On the contrary. As far as what his talent deserved, I've got no complaints. Album after album of great music: beautifully conceived and executed. (I'm not including some of the later stuff, especially with electric sax, of which I've not listened to enough to give an opinion.)

You feel his drug problems are related to the deficiencies you percieve, but do you have any evidence of a causal relation?

Edited March 14, 2005 by Cornelius

[Guest che]

His tone was beautiful, and I don't hear him lacking focus nor intricacy. On the contrary. As far as what his talent deserved, I've got no complaints. Album after album of great music: beautifully conceived and executed. (I'm not including some of the later stuff, especially with electric sax, of which I've not listened to enough to give an opinion.)

Hi.

So what are the albums you like the most?

Che.

[Brad]

Che,

His Roulette albums are very good as are his Verve albums. My favorite period of his is from the late 40s until he was through with Verve. There is a Roulette Mosaic and it's great. In the late 70s, he had a rejuvenation since he had a rep of just walking through a lot of dates and sessions. Of course, his just showing up is better than 90% of other people.

Of his later stuff, I recommend highly Endgame Brilliance: Tune Up, originally on the Muse label and reissued out by 32 Jazz. It's some fine playing. All of the material re-issued by 32 Jazz is fine and since Savoy acquired the Muse catalogue, some of that is now being reissued by them.

[Guest che]

Che,

His Roulette albums are very good as are his Verve albums. My favorite period of his is from the late 40s until he was through with Verve. There is a Roulette Mosaic and it's great. In the late 70s, he had a rejuvenation since he had a rep of just walking through a lot of dates and sessions. Of course, his just showing up is better than 90% of other people.

Of his later stuff, I recommend highly Endgame Brilliance: Tune Up, originally on the Muse label and reissued out by 32 Jazz. It's some fine playing. All of the material re-issued by 32 Jazz is fine and since Savoy acquired the Muse catalogue, some of that is now being reissued by them.

Brad.

Thank you for the recomendations and your post.

Che.

[Cornelius]

Where to start?!

A lot of people mention Tune-Up. If I had to pick one as his "magnus opus", this wouldn't be a bad choice. Also Constellation was packaged with Tune Up in the CD release Endgame Brilliance. Also from the Muse period is 12.

Going back, the Prestige 'late 40s (and 1950?) sessions, especially with J.J. Johnson, Bud Powell, and others.

The two discs from the Hi-Hat are INCREDIBLE (talk about intricate) (note: some of the solos from the other members of the band are cut out).

The Verves with Gillespie, of course.

The track "The Slow Blues" from the Jazz At The Philharmonic '60 concert in Stockholm is basically "Parker's Mood" but with even more oomph!

Verve albums such as Personal Appearence, The Hard Swing, and Sits In With The Oscar Peterson Quartet. And, most of all, New York Jazz is killin'!

Salt And Pepper on Impulse with Paul Gonsalves.

Matchups with Gene Ammons on Prestige and Verve.

Lots of good stuff on Roost too, all on the Mosaic box.

That's off the top of my head. There are so many others...

/

He may have made some lousy albums too, but I've not checked them out , many of which just look schlocky in concept if nothing else, so I have no opinon on those.

Edited March 14, 2005 by Cornelius

[marcello]

Sonny Stitt

Just in Case You Forgot How Bad He Really Was

This GREAT late Stitt!

[Chuck Nessa]

A Cornelius and Che discussion - my dream thread.

[Cornelius]

A Chuck Nessa post that says nothing - my dream post.

By the way, Chuck, there's a thread in which people are telling stories about their own personal reactions to the death of Charlie Parker. You better go in to tell them that they all need psychiatric attention since you contend that such posts reveal pathological self-absorption!

[Chuck Nessa]

[sheldonm]

A Cornelius and Che discussion - my dream thread.

[Cornelius]

Chuck Nessa: Four smiley faces. If that's the best you can do.

sheldonm: Do you have a specific criticism?

Edited March 15, 2005 by Cornelius

[Brad]

I need to post a correction. I meant the Roost Mosaic set. Also his last albums, Last Sessions, also on Muse, are really good. Can't say enough good things about Just In Case You Forgot... Tremendous album.

[Guest che]

Where to start?!

A lot of people mention Tune-Up. If I had to pick one as his "magnus opus", this wouldn't be a bad choice. Also Constellation was packaged with Tune Up in the CD release Endgame Brilliance. Also from the Muse period is 12.

Going back, the Prestige 'late 40s (and 1950?) sessions, especially with J.J. Johnson, Bud Powell, and others.

The two discs from the Hi-Hat are INCREDIBLE (talk about intricate) (note: some of the solos from the other members of the band are cut out).

The Verves with Gillespie, of course.

The track "The Slow Blues" from the Jazz At The Philharmonic '60 concert in Stockholm is basically "Parker's Mood" but with even more oomph!

Verve albums such as Personal Appearence, The Hard Swing, and Sits In With The Oscar Peterson Quartet. And, most of all, New York Jazz is killin'!

Salt And Pepper on Impulse with Paul Gonsalves.

Matchups with Gene Ammons on Prestige and Verve.

Lots of good stuff on Roost too, all on the Mosaic box.

That's off the top of my head. There are so many others...

/

He may have made some lousy albums too, but I've not checked them out , many of which just look schlocky in concept if nothing else, so I have no opinon on those.

Thanks for the info.

che.

[Guest che]

A Chuck Nessa post that says nothing - my dream post.

By the way, Chuck, there's a thread in which people are telling stories about their own personal reactions to the death of Charlie Parker. You better go in to tell them that they all need psychiatric attention since you contend that such posts reveal pathological self-absorption!

When John Coltrane finally left Miles Davis to form his own group, Stitt filled in on tour in 1960. I have a recording of him on the 'Complete 1960 Stockholm Concert'.

Che.

[Guest che]

A Chuck Nessa post that says nothing - my dream post.

By the way, Chuck, there's a thread in which people are telling stories about their own personal reactions to the death of Charlie Parker. You better go in to tell them that they all need psychiatric attention since you contend that such posts reveal pathological self-absorption!

I would not worry too much about the 'ol boys', ignore them and they will eventually go away

Che.

[Tony Pusey]

Saw Stitt in a dive in Norwich, England in the summer of 81, with I think, Red Holloway, anyway he was amazing, in full flight. I was with a group of students who had never heard jazz live before, they went ape! and a very lovely German woman in the group was moved at the end to pick him literally off his feet and kiss him enthusiastically.

[Guest che]

Saw Stitt in a dive in Norwich, England in the summer of 81, with I think, Red Holloway, anyway he was amazing, in full flight. I was with a group of students who had never heard jazz live before, they went ape! and a very lovely German woman in the group was moved at the end to pick him literally off his feet and kiss him enthusiastically.

Wow now that is a story to tell.

Che.