LP-730

Sonny Stitt - Move On Over

Released 1964

Recording and Session Information

Sonny Stitt, alto, tenor saxophone; Nicky Hill, tenor saxophone; Eddie Buster, organ; Joe Diorio, guitar; Gerald Donovan, drums
Ter Mar, Chicago, June 7 1963

12487 Dexter's deck
12488 Shut the back door
12489 The lady is a tramp
12490 Love letters
12491 My mother's eyes
12492 Stormy weather
12493 Move on over
12494 A natural fox

Track Listing

The Lady Is A Tramp	Rodgers & Hart	June 7 1963
Stormy Weather	Harold Arlen and Ted Koehler	June 7 1963
Dexter's Deck	Dexter Gordon	June 7 1963
My Mother's Eyes	Abel Baer & L. Wolfe Gilbert	June 7 1963
Shut The Back Door	Sunny Stitt	June 7 1963
A Natural Fox	Sonny Stitt	June 7 1963
Love Letters	Victor Young & Edw. Heyman	June 7 1963
Move On Over	Sonny Stitt	June 7 1963

Liner Notes

SONNY STITT is one of the mainstays of todays modern jazz scene. His alto and tenor saxophonings have been consistent landmarks of bright improvisation ever since his first "Charlie Parker-like" solos came to light back in the early days of the fabulous "Be Bop" cra of the mid-40's. The critical ravings that "if there hadn't been Bird thcre wouldn't have been Sonny", however, is nonsense of the highest degree, for even while Bird was still evolving his style and discovering new things within himself, Sonny was fast becoming a recognized protagonist of all that was good in the "new Jazz".

Considered a Detroiter, although actually from Saginaw, Michigan, Sonny's nation-wide appearances have also garnered him "home town" accolades from Chicago (where much of his formative years were spent) and Washington, D.C. — where he is now a home owner. Throughout much of his career Sonny has been paired with numerous instrumentalist as co-soloists in person and on recordings, most notably of the great Chicago tenor giant, Gene Ammons. In person, Sonny is always amenable to the strivings of younger players and always encourages them to share the bandstand with him in a give and take session. When the other musician is still scuffling Sonny tries to show them things during his solo turn. But, if the other cat is smokin', it's a battle royal with no holds barred. And if the other musician — he needn't be a saxophonist — is another giant, the proceedings really get musically heated. In the duo saxophone portions of this album, the third situation is immediately recognizable.

Nicky Hill passed away a few weeks after this album was recorded and was without any doubt, a true giant of the saxophone! His personality did not permit him to venture into the wider sphere of well known jazz artists and he therefore developed, generally within the Chicago area, a conception and style all his own. Essentially a tenor player, Nicky had shortly before this date, been expressing himself on soprano and alto. A slight unfamiliarity with the horn accounts for the occasional mechanical difficulties Nick runs into here. His previous recorded efforts are available on Argo LP-621 (as a member of the original MJT + 3) and with the Ira Sullivan Quintet on ("Bird Lives") recorded for another label on location at one of the yearly Charlie Parker Memorial Concerts held in Chicago. His style, on tenor, has at times resembled certain facets of Harold Land's approach, mostly tonally. It is strongly rhythmic and lyrical, and it varies in intensity, depending upon the natural flow of ideas and temperament. In other words he is free, with no pre-conceived idea of soloing. This may not be hip, but it certainly is creatively beautiful. The solos herein are part of Nicky Hill's musical legacy, and are to be treasured.

The rhythm section for this LP sports a young guitarist whose eventual stardom seems assured. Joe Diorio possesses a musical sense of values that is to be greatly admired. His imagination is always tempered with good taste whether playing comp style rhythm, chordal intros or fanciful backgrounds for the other soloists. His own solos have a flow and logic that sets them apart from those of most of the other fine guitarists playing today and his technical ability gives him the means to complete them successfully. Jerold Donavon is the steady unobtrusive drummer and the organist is Eddie Buster.

Comments on the tunes that feature Sonny alone are almost unnecessary, except to saythat throughout the album he plays effortlessly, displaying the happy spark that has become his trademark. He is soulful and maintains an intelligent logical approach to all of the selections with the moving feeling of swing always dominant. On the sides with Nicky however, a little clarification on solo sequence and other highlights is necessary.

On "Lady Is A Tramp" Sonny opens with the first half of the theme on tenor. Nicky completes the theme on alto playing deep in the tenor range, and takes the first solo, in a spurting surging manner. Joe Diorio follows, with Donavon playing a sort of shuffle cymbal beat beneath him. Sonny then soars in on alto with a magnificent screaming melodic solo that builds irresistibly. Both sax men then go into an extended tag ending alternating with each other to the out theme.

The perennial jam tune, "Dexters Deck" features both men on alto all the way. Nicky plays lead for the theme and again solos first. After Sonny's driving high sailing venture Diorio plays an easy flowing solo that utilizes the entire spectrum of range on his mellow sounding guitar. The horns then re-enter to trade inspiring, slashing four bar ideas.

The first tune on side two is an easy rocking, simple lined blues. Guitar and rhythm intro lead to Sonny's tenor solo, in which he provides some unexpected chord alterations, and answers to his own statements. Nicky Hill then charges in screaming his blues message, and is followed by Diorio, with Buster comping piano style behind him. Sonny then returns with another happy solo and takes the tune to its closing theme.

Many jazz fans and critics have often wondered why particular artists, Sonny Stitt included, record so many albums. They claim that nothing new is being played, and that it all sounds the same. In many instances this may be true. But, when Sonny Stitt is involved in a recording, or a live engagement for that matter, there is always present, regardless of the fact that some of the other participants may not be even close to Sonny's ability, a certain glow and excitement, for there is always the possibility that the interaction of musical talents will produce some truly wonderful moments of creative jazz music. This has happened throughout this album. The rhythm section (a regular working trio under Buster's leadership) is a homogeneous unit with a pulse all its own, and contains a brilliant guitarist in Diorio who is as good as the very best. In the striving alto of Nicky Hill, Sonny found inspiration to inflame his own conceptions, and in reverse action spurred Nicky on to some exciting revelations o his own. The very evident results on this LP are valid enough to justify recording this particular group of musicians repeatedly. Fate, however, has made this impossible. Savor it while you can, there won't be another.

—JOE SEGAL