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 | Sonny Stitt: Kaleidoscope (CD: Prestige- US Import) Some early sides from 1950-52 showing Stitt to be in fine form, not only on alto and tenor but on baritone also. His readings of 'PS I Love You' and 'This Can't Be Love' on the larger horn have a Pres-like elegance.
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Sonny Stitt, Bud Powell, J.J. Johnson (CD: Prestige- US Import) Through recordings on Savoy and, with Dizzy Gillespie, on Musicraft, Stitt built a reputation as the closest thing to Charlie Parker on alto. He was not seen in person during the years of bebop's ascendancy because he was hospitalized for drugs. His first recording after his return was the 1949 session with J.J. Johnson on which he played tenor rather than alto and established himself as a more distinct personality. The sessions with Bud Powell present some of the most highly charged, dually inspirational collaborations ever recorded. (Fantasy, inc.)
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 | Sonny Stitt: Plays Arrangements of Johnny Richards and Quincy Jones (CD: Fresh Sound) Two of Sonny Stitts earliest, most important albums. Backing his superb work on alto and tenor are bands conducted by two of the finest jazz arrangers: Johnny Richards, and Quincy Jones in one of his firstand bestefforts in the field.Of the 1953 sessions Stitt gets most of the solo space but Kai Winding, Don Elliott, and the rhythm section also deliver some of the sets most memorable moments. On the second (1955) album Stitt is again the main soloist, playing altohis best instrumentbut there are significant contributions from Hank Jones, Oscar Pettiford, and Jimmy Nottingham throughout. (Discovery Records)
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Sonny Stitt: Sits In With The Oscar Peterson Trio (CD: Essential Jazz Classics) The complete original album Sonny Stitt Sits in with the Oscar Peterson Trio (originally on Verve), the last of the very few preserved collaborations between the two leaders. It was recorded in a studio in Paris, during a JATP European tour.As a bonus, the three quintet songs (with Herb Ellis on guitar) recorded by the saxophonist and pianist in the studio in 1957, are added; and as a further bonus, a complete live performance featuring them with Roy Eldridge on trumpet, which was recorded at the 1957 Newport Jazz Festival. Stitt was still playing tenor on some tracks here - a choice he had made to avoid the frequent comparisons with his idol, Charlie Parker. He returned mainly to alto in subsequent decades. (Discovery Records)
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 | Sonny Stitt with Jack McDuff: Stitt Meets Brother Jack (CD: Prestige- US Import)
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Sonny Stitt: Don't Call Me Bird (CD: Fresh Sound)
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 | Sonny Stitt: Plays Jimmy Giuffre Arrangements (CD: American Jazz Classics) The only collaboration ever recorded between Sonny Stitt and Jimmy Giuffre!This rare and splendid album received a four-star rating from Down Beat magazine upon its release. It features Stitt playing arrangements by Giuffre (who joins him on tenor sax on four tracks) on a variety of blues and well-known standards. As a bonus, Stitts complete album, A Little Bit of Stitt, which also contains a version of Laura. (Harmonia Mundi)
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Sonny Stitt: Autumn In New York (CD: Black Lion) In splendid form and assimilating Charlie Parker with a very Bird-like choice of material captured live at Birdland 1962, including 'The Gypsy' and the title cut plus a dashing 'Cherokee'. The other tracks, including a poignant 'Loverman', are from a studio date in Zurich, 1967 with Howard McGhee, Walter Bishop, Tommy Potter and Kenny Clarke.
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 | Sonny Stitt: Stitt Plays Bird (CD: Atlantic)
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Sonny Stitt: Four Classic Albums (CD: AVID, 2 CDs) Arguably never quite in the top league alongside the likes of Charlie Parker (his great influence), Lester Young, Benny Carter, Ben Webster and John Coltrane, nevertheless the great alto saxophonist Sonny Stitt is a welcome addition to our "classic album" series. Across four wonderfully diverse albums we find Sonny amongst four jazz quartets all discovering something new about each other along their musical journey. "Saxophone Supremacy" finds Sonny alongside Lou Levy on piano, Leroy Vinegar on bass and Mel Lewis on drums. For "Personal Appearance" he is joined by Bobby Timmins on piano, Edgar Willis on bass and Kenny Dennis on drums. "The Battle Of Birdland" recorded one Sunday night at New Yorks famed Birdland club, Sonny teams up with fellow sax titan Eddie Davis for a supercharged blowing session alongside Doc Bagby and Charlie Rice. Finally Sonny joins the Oscar Peterson Trio for a 1959 date "Sits In With The Oscar Peterson Trio" paying tribute to amongst others, his great influence Charlie Parker, Sweets Edison, Ben Wbster, Louis Armstrong and Count Basie.All four albums have been digitally re-mastered for probably the finest ever sound quality! (AVID Entertainment)
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 | Sonny Stitt: Personal Appearance (CD: Verve LPR)
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Sonny Stitt Quartet: New York Jazz (CD: Verve LPR) Largely down to his lightening-fast delivery of an abundance of notes, even in the ballads, Stitt was perpetually tagged with 'Bird disciple' or worse 'imitator' throughout his career. Despite the obvious symmetries, there was a lot more to his approach than a mere replication of Charlie Parker and this recording is as fine an example of this. An unfailingly exuberant outing on alto and tenor horns from September 1956, long out of print and lovingly restored by Verve for its first appearance on CD, 'New York Jazz' mixes rapid-fire numbers (like the storming opener 'Normans Blues') with appealing standards (a magnificent account of 'Body And Soul'). The leader dominates proceedings to such an extent that accompanists Jimmy Jones, Ray Brown and Jo Jones seem to be mere accessories. But, when Stitt blows like this, who cares?
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 | Sonny Stitt: Blows The Blues/ The Hard Swing (CD: Fresh Sound)
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Sonny Stitt: & The Top Brass (CD: Atlantic)
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 | Sonny Stitt: Sonny's Blues (CD: Ronnie Scott's Jazz House)
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Sonny Stitt (with Booker Ervin & Don Patterson): Soul People (CD: Prestige- US Import)
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 | Sonny Stitt: Night Letter (CD: Prestige- US Import) Multi-saxophonist Edward Sonny Stitt recorded with virtually every possible instrumental configuration during his long and distinguished career. During the 1960s he was often heard on record with organists, one of the most supportive of which was Brother Jack McDuff. Their 1963 quartet date, cut on McDuffs 37th birthday, was a typically Sonny-side-up mix of forgotten standards (like Love Nest, George Burns and Gracie Allens theme song) to blithely swinging blues. On the 1969 session that serves as a companion to his collaboration with McDuff, Stitt switches to the Varitone, an electronic accessory to the saxophone that he attempted to popularize. The device never caught on but more of the same canny blending of non-overworked evergreens and always-welcome blues (featuring a young guitarist named Pat Martino as part of the proceedings) is always in style. (Fantasy, inc.)
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Sonny Stitt: Move On Over (CD: Jazz Beat)
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 | Sonny Stitt: My Mother's Eyes (CD: Groove Hut)
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