Sonny Stitt Folkway

Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses. On "The Eternal Triangle," in particular, Stitt and Rollins impress in their roles as tenor titans, with Stitt going in for sheer muscle as that most stout of bebop cutters and Rollins opting for some pacing as a more thematic player…

Sonny Stitt was in prime form in the early '70s when he recorded two classics: Tune Up and Constellation. 12! from a year later tends to get overlooked but this album is also one of the saxophonist's most rewarding recordings. Assisted by pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes, Stitt (switching between alto and tenor) is in superb form on five standards and two blues; highlights include "I Got It Bad," "Every Tub" and "Our Delight."

This obscure LP finds Sonny Stitt sticking to tenor and playing a typical set filled with blues, standards and riff-filled originals. Organist Charles Kynard made his recording debut during this session, guitarist Ray Crawford and drummer Doug Sides are strong assets and the two versions of the emotional title cut are highpoints.

Tenor saxophonists Gene Ammons and Sonny Stitt co-led a small group in 1950, and this follow-up, taped in the studio in 1961, finds the two picking up where they left off. The highlight of the date is the jointly written "Blues up and Down," a classic jam which has since inspired a number of other tenor match ups to record it, especially Eddie "Lockjaw" Davis and Johnny Griffin. Ammons' repetitious one-note melody within "The One Before This," like Duke Ellington's deceptively simple two-note theme "C Jam Blues," leads to some inspired improvising by both men. Stitt switches to alto sax for a loping take of "There Is No Greater Love," during which Ammons' tenor provides the perfect foil. The rhythm section includes bassist Buster Williams, along with the somewhat obscure pianist John Houston and drummer George Brown.

Along with the previous Tune Up, this set (which has been reissued by Muse) is one of Sonny Stitt's greatest recordings. The bop master is stunning on most of the eight selections, particularly "Constellation," "Webb City," and "It's Magic," switching between alto and tenor and sounding quite creative. The rhythm section (pianist Barry Harris, bassist Sam Jones, and drummer Roy Brooks) is outstanding and, whether it be the ballad "Ghost of a Chance," Tadd Dameron's "Casbah," or "Topsy," this set has more than its share of great moments.

Fine, although a bit routine, soul jazz, blues, ballads, and standards session from saxophonist Sonny Stitt. He plays with the usual surging intensity, but the album doesn't have as much excitement as similar dates done before and after it.