Sonny Stitt

Sonny Stitt - Saxophone Supremacy (1959) {Verve Japan Jazz The Best Series UCCU-9943 rel 2012}
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© 1959, 2012 Verve / Universal Japan | UCCU-9943 | 24bit remastering
Jazz / Bop / Saxophone

Classic Sonny Stitt for Verve – one of those masterful albums he cut for the label in the 50s – all in a format that's misleadingly simple on paper, but surprisingly complex in execution! Stitt's backed by a trio that includes Lou Levy on piano, Leroy Vinnegar on bass, and Mel Lewis on drums – but all players seem to hit a more deeply soulful groove than usual – just the right sound to match Sonny's sharper-edge groove, and near-perfect execution of his solos. Stitt's tone is right out front in the mix – beautifully recorded by Norman Granz, with as much respect to his sound as Sonny brings to his own renditions of the tunes.

This encounter between tenor saxophonist Gene Ammons and Sonny Stitt (who doubles on tenor and alto) is a true classic. Ammons and Stitt teamed together many times over a three-decade period, including co-leading a band during 1950-1952, but Boss Tenors is arguably their finest recording. Backed by pianist John Houston, bassist Buster Williams, and drummer George Brown, Ammons and Stitt battle it out on "There Is No Greater Love," Ammons' "The One Before This," "Autumn Leaves," "Blues Up and Down," and Stitt's "Counter Clockwise." This is competitive bebop at its best, with Stitt and Ammons proving to be equal matches. Essential music for all jazz collections.

Sonny Stitt - At The Hi-Hat, Volume 2 (1954) {Roulette Official Digital Download rel 2002}
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© 1954, 2002 Roulette Jazz / Parlophone UK / EMI Digital | 0724383720057
Jazz / Bop / Bebop / Saxophone

Sonny Stitt spent most of his career touring as a single, picking up rhythm sections wherever he appeared. On February 11, 1954, he was booked at the Hi-Hat in Boston and the local sidemen he came up with (pianist Dean Earl, bassist Bernie Griggs, and drummer Marquis Foster) were competent but undistinguished. That didn't matter much, though, because they were able to state basic chord changes, allowing Stitt to stretch out on standards and his riffing originals. Most unusual about this typical bebop jam is that in addition to his alto and tenor, Stitt triples on baritone (an instrument he otherwise only utilized on two songs for a Prestige date during this period).

Eddie "Lockjaw" Davis & Sonny Stitt - Jaws & Stitt at Birdland (1954) {Roulette Jazz ‎CDP 7975072 rel 1991}
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© 1954, 1991 Roulette Jazz / EMI Records | ‎CDP 7975072
Jazz / Bebop / Saxophone

Sonny Stitt (sticking to tenor on this set) sat in with fellow tenor Eddie "Lockjaw" Davis' trio (which also includes organist Doc Bagby and drummer Charlie Rice) for a spirited and typically competitive jam session. Since Davis and Stitt had different sounds (one has little difficulty telling them apart) and were equally skilled, their collaboration is a draw. In addition to three standards, this CD has five basic originals. The original LP's four numbers are joined by four equally heated selections from the same date that were previously put out by the Phoenix label. Easily recommended to bebop collectors.

Sonny Stitt - Deuces Wild (1966) {2013 Japan Jazz Best Collection 1000 Series 24bit Remaster WPCR-27270}
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© 1966, 2013 Atlantic / Rhino / Warner Japan / WEA | WPCR-27270 | Jazz Best Collection 1000 Series
Jazz / Bop / Saxophone

Features 24 bit remastering and comes with a mini-description. A great little Sonny Stitt album – very different than any of his other sets from the 60s! The album has a number of interesting aspects – from hard-wailing organ by Wilmer Mosby (who we think is Don Patterson under a fake name), to some screaming guest work by Rufus Harley and Robin Kenyatta. Sonny and Kenyatta sound especially great together, and on the track "In The Bag" Stitt's alto blends right in with Kenyattas, for an hard-wailing sound that's enough to shatter your windows, glasses, and contact lenses. Harley's work is equally great on the cut "Pipin The Blues", and with Sitt playing the sax parts, Rufus is free to really work those jazz bagpipes!

Dizzy Gillespie with Sonny Rollins and Sonny Stitt - Duets (1957) {Verve 835 253-2 rel 1988}
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© 1957, 1988 Verve / PolyGram | 835 253-2
Jazz / Bop / Saxophone / Trumpet

One of the greatest jam session records on Verve! Although some of the label's "big horn talent" albums tended to be a bit snoozy, this one crackles with energy, and features three different classes of boppers working together perfectly on long, lively tracks with Ray Bryant on piano, Tommy Bryant on bass, and Charlie Persip on drums. In fact, it's probably the soulful rhythm section that makes the whole thing so darn good – as they really chop up some nice rhythms on cuts like "Wheatleigh Hall", "Haute Mon", and the album's classic version of "Con Alma". Great stuff, and essential for fans of Diz and Rollins especially!

Sonny Stitt & Zoot Sims - Complete Recordings (1965) {Lone Hill Jazz LHJ10328 rel 2008}
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© 1965, 2008 Cadet / Colpix / Lone Hill Jazz / LHJ 10328
Jazz / Soul Jazz / Hard Bop / Saxophone

A surprisingly great pairing - Sonny Stitt and Zoot Sims - heard here on 2 albums recorded in early 1965! "Inter-Action" begins the CD - a nice little set by Stitt and Sims - recorded in Chicago. "Broadway Soul" is an obscure album of Broadway tunes played jazz-wise from Sonny Stitt. Features a great set of players that include Zoot Sims, Jerome Richardson, Budd Johnson, Phil Woods, Walter Bishop Jr, Thad Jones and Osie Johnson.