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Topic: Sonny Stitt

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 Sonny Stitt - Verve Records
Sonny Stitt was born in Boston but grew up in Saginaw, Michigan.
Stitt worked exclusively on the alto saxophone on these early recordings; yet there was more to Stitt than his command of one horn.
Stitt was a complete saxophone virtuoso, who recorded several impressive solos on baritone in the Fifties.
www.vervemusicgroup.com /artist.aspx?ob=per&src=prd&aid=2810   (351 words)

 Sonny Stitt - Biography - AOL Music
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.
Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s.
music.aol.com /artist/sonny-stitt/7618/biography   (409 words)

 * Dusted Reviews - Sonny Stitt *
Saxophonist Sonny Stitt was perhaps the ultimate “single,” a jazzman for whom the idea of a long-term working band was an illogical construct.
Stitt was one of the earliest purveyors of bebop and the set opens with several sessions that are classics of the idiom.
Stitt’s alto, the instrument on which he was initially better known, doesn’t show up until the close of the second disc, and then only on a brief smattering of cuts.
www.dustedmagazine.com /reviews/3059   (726 words)

 Cancer Claims Sonny Stitt
Edward “Sonny” Stitt was born in Boston, Massachusetts February 2, 1924 and died in Washington, D.C. July 22, 1982 at the age of 58.
It must be mentioned that Sonny Stitt’s life was characterized by the number two and multiples of two.
Sonny Stitt will be forever remembered for the quality of his output and the quantity of his work.
georgeedwardtait.org /sonny_stitt.htm   (627 words)

 Sonny Stitt: Goin' Down Slow
Bird died!” These were the words of Sonny Stitt in response to being tagged as “the new Bird,” an appellation that was also foisted on Cannonball Adderley.
As a tenor player, Stitt was influenced by Lester Young, and his originality was sometimes easier to hear on that horn since it was not the horn Parker played.
Stitt made quite a few recordings for Prestige, and these two sessions from 1972 are among the last he did for the label.
www.jazzitude.com /fantasy_stittgoingdown.htm   (305 words)

 Compare Prices and Read Reviews on Personal Appearance [Digipak] [Remaster] - Sonny Stitt at Epinions.com
Stitt was often derided as only "playing the changes", but it should be noted how melodic he remains even while playing long passages of convoluted notes.
Sonny Stitt would go on to record other great albums, most notably with Gene Ammons on their "Straigh Ahead From Chicago 1961" and Oscar Peterson on "Stitt Sits In".
Sonny Stitt died of a heart attack in 1982.
www.epinions.com /content_161127501444   (1879 words)

 The Complete Roost Sonny Stitt Studio Sessions (#208)
Born in 1924, Sonny Stitt was just old enough to cut his teeth in the rigorous, demanding and disciplined swing era and young enough to understand and embrace the be bop revolution of the mid forties.
Sonny Stitt's Roost recordings have been among his finest and rarest, long sought-after and seldom reissued.
Sonny would be asked to lay down 5-6 tracks per side, requiring that he make every single note count in what might be no more than a single chorus (32 bars) of improvisation.
www.mosaicrecords.com /prodinfo.asp?number=208-MD-CD   (2062 words)

 BBC - Radio 3 Jazz Profiles - Sonny Stitt
He was a member of Billy Eckstine's pioneering bebop big band, and in 1946 played in Dizzy Gillespie's sextet and orchestra, where his Parker-inspired playing was a natural foil for the trumpeter.
Problems with heroin addiction and spells in Detroit and Chicago removed Stitt from the centre of jazz developments, but he was back in the Big Apple in 1949, where he cut some dazzling discs with Bud Powell including All God's Children Got Rhythm, on which he played his distinctive brand of tenor sax.
Wayne Enstice and Paul Rubin: 'Sonny Stitt' in Jazz Spoken Here (Baton Rouge, LSU Press, 1992).
www.bbc.co.uk /radio3/jazz/profiles/sonny_stitt.shtml   (280 words)

 Sonny Stitt - Stitt's bits: The Bebop Recordings 1949-1952 Review
Sonny Stitt's first major musical job was playing alto with Tiny Bradshaw's orchestra in 1942.
By the time Stitt began to record in 1946, on alto he sounded like Parker's musical double (minus the genius) and was criticized for being a mere imitation even though he had mastered the bebop vocabulary earlier than most.
Sonny Stitt would continue recording prolifically throughout his life, which ended in 1982.
www.avrev.com /music/revs/1006/sonny_stitt.shtml   (705 words)

 Amazon.com: Reviews for Work Done: Music: Sonny Stitt   (Site not responding. Last check: 2007-10-13)
Sonny has learned by this time (1976) how to pace himself, making his statements in a chorus or two yet doing so with headspinning technical command, satisfying emotional expressiveness, and willful structural wholeness.
Sonny's return to form in the 1970's is, in many respects, admirable if not awe-inspiring: he recovered most of his extraordinary musical gifts even while denying himself the self-indulgences that had begun to lead to their decline.
Stitt followers should take no small amount of consolation from the enormous amount of self-discipline and professional pride that led this commanding player back to the top of his game, even as a rapid, virulent cancer was about to take it away from him.
www.amazon.com /Work-Done-Sonny-Stitt/dp/customer-reviews/B00080Z5TI   (740 words)

 Sonny Stitt - Wikipedia, the free encyclopedia
Edward "Sonny" Stitt (February 2, 1924 – July 22, 1982) was an American jazz saxophonist.
The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis.
In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record.
en.wikipedia.org /wiki/Sonny_Stitt   (837 words)

 Classic Records Catalog / V-6149   (Site not responding. Last check: 2007-10-13)
Sonny Stitt has recorded in an impressive variety of contexts, ranging from the octet format featured in Jimmy Giuffre's arrangements (MG V-8309) to informal sessions with such swing era prototypes as Roy Eldridge, with whom he was teamed for Only The Blues on MG V-8250.
On the present sides Sonny again reverts to the blues, this time in an even simpler setting composed of three musicians who, like Sonny, are essentially products of the modern jazz scene but have firm roots in the jazz tradition of which the blues has remained a perpetual, unquenchable guiding light.
Sonny is also at his earthiest and most moving in the very slow blues in G, Morning After, that closes the set.
www.classicrecs.com /V-6149.htm   (1149 words)

 Sonny Stitt Article
As Brahms was to Beethoven, so is Sonny Stitt to Charlie Parker, and we can take it further by saying that Gustav Mahler and John Coltrane interrelate, but lets stick to Stitt for now.
Sonny is one of the divine musician-composers of all time.
One of the most sublime elements of his art is the casual, and unselfconscious manner in which he tosses off labyrinthine melodic and rhythmic inventions of momentous intellectual complexity, and subtlety, without a trace of effort.
www.azuremilesrecords.com /SonnyStittArticle.html   (444 words)

 JazzSpot > Reviews > JazzWords > Sonny Stitt
Sonny Stitt died nearly 20 years ago, was not a media darling, did not write a "kiss and tell" autobiography and kept his demons largely to himself for the last 34 years of his life.
I feel that Sonny Stitt is currently the most underrated saxophonist of his generation.
In life, Stitt was always considered "a Charlie Parker disciple." This page is beginning of my celebration of Stitt's life and contribution as a working musician for 40 years.
www.jazzspot.com /jazzspot/reviews/sonny_stitt_1.htm   (424 words)

 Review - Sonny Stitt: Personal Appearance   (Site not responding. Last check: 2007-10-13)
Sonny Stitt plays both alto or tenor on 11 classic tunes.
Simply put, on this recording, the formidable Stitt's playing has a beauty which is breath taking.
Stitt's originality of approach and execution breathes life into these timeless songs.
www.cosmik.com /aa-november04/reviews/review_sonny_stitt.html   (293 words)

 Endgame Brilliance: Constellation & Tune-Up - Sonny Stitt - Music Reviews
On both dates, Stitt (doubling on tenor and alto) is joined by the superb bop pianist Barry Harris and bassist Sam Jones with either Roy Brooks or Alan Dawson on drums.
Stitt, who recorded many quartet sets through the years, was very inspired on both of these occasions.
A master of the bebop vocabulary, the competitive Sonny Stitt would have deserved fame if he had only recorded these two sessions and not bothered with the other 150 albums he led.
www.mp3.com /albums/206179/reviews.html   (572 words)

 Sonny Stitt @ The Jazz Files   (Site not responding. Last check: 2007-10-13)
Sonny Stitt (born in Boston 1924) was a remarkable instrumentalist who (although listed here under Alto Saxophone) was equally proficient on alto and tenor sax.
Stitt himself has always maintained that his style, closely paralleling that of Parker's in harmonic and rhythmic aspects, was evolved independently of Parker.
Stitt had established himself as the champion of the hard-bop blowing session.
www.thejazzfiles.com /JazzStitt.htm   (341 words)

 Amazon.ca: Goin Down Slow: Music: Sonny Stitt   (Site not responding. Last check: 2007-10-13)
On "Speculation" Sonny reminds us of why he was so frequently compared to Bird, but what really spun my head around on this track was the percussion work of Lenny McBrowne.
Although not for the hard-bop purist, Stitt's playing is equal to his most creative throughout, placing this among the most worthwhile entries in his lengthy discography.
Stitt's playing is equal to his most creative throughout, placing this among the most worthwhile entries in his lengthy discography.
www.amazon.ca /Goin-Down-Slow-Sonny-Stitt/dp/B00008IAK1   (1191 words)

 Sonny Stitt | Work Done
The life and substances required to fuel it took their toll, and by the mid-sixties Stitt was having as many bad days as good days.
The key to both Stitt’s life and music was control, and his extraordinary discipline is on abundant display throughout this set.
Stitt followers should take no small amount of consolation from the dedication and professional pride that led this dominating player back to the top of his game, even as a rapid, virulent cancer was about to take it away from him.
www.allaboutjazz.com /php/article.php?id=21257   (551 words)

 African American Registry: Sonny Stitt was one of saxophones best
Stitt was from Boston, Massachusetts and began his career in the 1940’s playing with Dizzy Gillespie.
Stitt’s performances often gave listeners proof that he was one of the best at what he represented in the crowded reed players of jazz.
As traditional jazz grew compliant to the rock and roll of the 1960’s and beyond, important jazz figures such as Stitt seemed to fade from the ear and heart of the public.
www.aaregistry.com /african_american_history/700/Sonny_Stitt_was_one_of_saxophones_best   (215 words)

 CD Baby: SONNY STITT: The Sonny Stitt You've Never Heard
Although Sonny has recorded many outstanding albums with many great musicians, we think this is the is the best and most entertaining he has ever produced and will have the most appeal of my ever produced for many reasons.
Although Sonny has recorded many outstanding albums with many great musicians, we think this is the is the, few, if any, albums have displayed his natural funk and soul.
It is really a shame because As one writer put it, "Sonny Stitt has achieved such mastery and proficiency over his instrument that his playing cannot be judged by ordinary standards." Yet, the average jazz fan of today has probably never heard of Sonny Stitt or are familiar with his works.
cdbaby.com /cd/sonnystitt   (804 words)

 Sonny Stitt
Sonny Stitt played alto saxophone in Tiny Bradshaw's big band in the early 1940s, then in 1945 joined Billy Eckstine's big band, which included such young bop players as Fats Navarro, Dexter Gordon, Gene Ammons, and Art Blakey.
Stitt's early recorded solos show clearly that he was a disciple of Charlie Parker; he used Parker's favorite melodic formulas and imitated his tone quality and vibrato.
Sonny Stitt With Bud Powell And J.J. Johnson, 1949-50, Prestige.
members.tripod.com /~hardbop/stitt.html   (344 words)

 It's Magic : Sonny Stitt : CD Reviews : One Final Note
The “new” Stitt album is actually a Delmark issue of a previously unreleased 1969 jam session with organist Don Patterson and drummer Billy Pierce.
Stitt is a god on the horn and a passionless set like this just shows that even he had off days.
And, despite the fact that Stitt’s playing on this record is probably technically better than 90 percent of players out today, it lacks all the passion of the hot outings his reputation is built on.
www.onefinalnote.com /reviews/s/stitt-sonny/its-magic.asp   (435 words)

 Amazon.ca: 12!: Music: Sonny Stitt   (Site not responding. Last check: 2007-10-13)
Sonny Stitt's gifts lie in his fire and athleticism, not in his innovation or craftiness.
Though one of the most astonishingly agile and frighteningly feral players of the 30 previous years, Stitt never became the sax star of any day, mostly because critics always seemed to give disproportionate value to innovation and craftiness.
In terms of sheer force and flawless execution, Stitt was the undisputed champion of the hard-bop blowing session.
www.amazon.ca /12-Sonny-Stitt/dp/B000044U3L   (299 words)

 Sonny Stitt ii-V-I patterns
Sonny Stitt (1924-1982) was a master craftsman and a consistently inventive alto and tenor saxophonist throughout his entire career.
Stitt was still developing his style on these 1950-52 recordings.
There are several books with transcribed Stitt solos from his later period available at Jamey Aebersold.
homepage.mac.com /ghunn/musicpub/stittpage.html   (250 words)

 Sonny Stitt   (Site not responding. Last check: 2007-10-13)
In keeping with the great bop tradition of the cutting contest -- during which musicians vie to blow one another off the bandstand -- Sonny sounded as though he were having a cutting contest with himself.
The arrangements served the tunes, the experimentations were daring, the playing impeccable, the blend as smooth as an oiled sardine.
In a recording career that began in 1946, Sonny Stitt brought all of bebop's virtues straight into the 1980s, right up until the time of his death.
www.skyjazz.com /commentaries/stitt.htm   (637 words)

 The Austin Chronicle Music: Review - Sonny Stitt
No one's denying that saxophonist Sonny Stitt was a superb player who left his mark on the jazz vocabulary.
Although their styles and intensity are remarkably similar, perhaps it's best left to jazz historians to analyze such technical minutia while jazz fans, 50 years after the fact, can just enjoy this music for its sheer exuberance and breathtaking flair.
The two lock horns on several dates here, including the original recording of their signature joust, "Blues Up and Down." The three discs are crammed with 76 sides, all culled from 78 rpm singles running three minutes or less.
www.austinchronicle.com /gyrobase/Issue/review?oid=oid:397726   (386 words)

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