Under the watchful eye of famed producer Michael Cuscuna, this nine-CD set serves as a compilation of Stitt's 1950s and 1960s Roost LPs. This release also features a 28-page booklet consisting of comprehensively annotated liners. Moreover, the record label does its best to convey the artistic element via a series of black-and-white photos of Stitt and his sidemen amid anecdotes by many of the late saxophonist's affiliates. Interestingly enough, seven of the original LPs did not list personnel. In some instances, guesses were made, although most of these tracks are well-documented, thanks to the producer's diligence and painstaking research. Artists such as drummer Roy Haynes, bassist/composer Charles Mingus, and pianist Harold Maber represent but a few of Stitt's accompanists.
In 1977 Art came back from the dead. Or so it seemed to those who followed him, followed his music. And then in 1979, the Japanese came calling in the guise of a small record label, Yupiteru, later Atlas. They wanted Art to record for them. By then, Art was under exclusive contract to Fantasy/Galaxy records and couldn’t record as a leader. However, and I think I deserve credit for this sneaky idea, he could be a “sideman.” And he could choose the “leaders.” He did six albums for Atlas with six terrific “leaders.” And they are classics, now.
Sadik Hakim (whose original name was Argonne Thornton) played with a few notable names from the bop era (including Charlie Parker) but has long been a somewhat obscure pianist. His "meeting" with Sonny Stitt (who splits his time here evenly between alto and tenor) was about as high profile as he ever got. With bassist Buster Williams and drummer J.R. Mitchell completing the quartet, Stitt is in his usual fine form on five veteran standards, a pair of blues-based originals and Stevie Wonder's "You Are the Sunshine of My Life." The music is not essential but has its heated moments; recommended for bop fans.
SUPERB is right! I have rarely, if ever, heard Sonny Stitt sound like this. Everybody knows about his instrumental prowess, so let's talk about his sound for a moment. On this particular album, Stitt's sound is so rich, so full, so visceral, it sounds as if he's gonna pop right out of the speakers and play in your living room right next to you. I have NEVER heard Sonny play with such a full, enveloping tone as he does here. At first, I thought he might have quit smoking or something, but there he is with holding a cigarette on the cover. But he must have done something to obtain the lavish, sumptuous timbre he plays with on With the New Yorkers.