Sonny Stitt and Bennie Green - My Main Man
Released 1964
Recording and Session Information
Bennie Green, trombone; Sonny Stitt, alto, tenor saxophone; Bobby Buster, organ; Joe Diorio, guitar; Dorel Anderson, drums
Ter Mar, Chicago, March 10+11 1964
13053 Our day will come
13054 The night has a thousand eyes
13055 Let's play Chess
13056 Broilin'
13057 Flame and frost
13058 My main man
13059 It might as well be spring (unissued)
13060 Double dip
Track Listing
| Flame And Frost | Esmond Edmonds | March 10+11 1964 |
| Let's Play Chess | Sonny Stitt | March 10+11 1964 |
| Double Dip | Sonny Stitt & Bennie Green | March 10+11 1964 |
| Our Day Will Come | Gerson & Hilliard | March 10+11 1964 |
| My Main Man | Sonny Stitt & Bennie Green | March 10+11 1964 |
| The Night Has A Thousand Eyes | Vic Mizzy & Irving Taylor | March 10+11 1964 |
| Broilin' | Sonny Stitt & Bennie Green | March 10+11 1964 |
Liner Notes
BENNIE GREEN and SONNY STITT have maintained a mutual admiration society for many years now, and yet to my knowledge, this is the very first time they have recorded together as featured soloists, Hence, the title of the album, "MY MAIN MAN".The setting for this album came about rather uniquely. Bennie, for a long time after he left the Charlie Ventura "Bop For The People" venture in the late '40's, toured with his own swinging group which featured the trombone/tenor sax voicing similar to the sounds herein, but his cohorts at that time usually were Charlie Rouse, and later, Billy Root. After that band broke up, Bennie traveled mostly as a single, working with house rhythm sections throughout the country. Sonny Stitt also has worked extensively as a single throughout his career, except for the memorable years he double teamed with Gene Ammons. Recently, in Chicago, Sonny and Bennie were booked in as single attractions in a "jam session" atmosphere at McKie's, with a local rhythm section. Their natural afnity to each others style gave impetus to their decision to tour together as a unit. During that first Chicago stay, a suggestion was made that they record together, but previous booking commitments prevented a date at that time.
Later this year when I contacted them to be featured at the 9th Annual Charlie Parker Memorial Concert, held in Chicago each March, an opportunity arose for the delayed recording session, which then took place the day following the concert. This postponement had also given them time to perfect enough tunes for an album, and to really develop the intricacies of their individual styles to best work harmoniously with each Bennie Green is one of the very few modern day trombonists whose allegiance stems from influences prior to J. J. Johnson. Bennie's seemingly effortless, relaxed style would be better described as having stemmed from a fondness for the big sound, and humor-tinged trombonings of Dickie Wells and/or Vic Dickenson, flavored with a strong personal approach that is all Bennie Green. His most positive asset is that he always swings — be it ballad or up tempo — and is immediately identifiable. Bennie certainly is one of the great trombonists of our time.
Sonny Stitt has always been considered by fan and musician alike to be one of the foremost saxophonists ever to play jazz, In this album, Sonny sticks to tenor sax, although many prefer him on alto. His is also an effortless style, and notes just seem to cascade from the horn. Most Stitt fans seem to associate him most closely with Charlie Parker, which, of course, is quite a compliment to Sonny. Yet, also there is a great love and respect for Lester Young, which has, together with his own very large talent, made Sonny one of the true giants of the modern saxophone.
Here is the first recorded meeting of two individual talents which compliment each other, and an auspicious meeting it is! For their accompanying rhythm section, Sonny and Bennie chose wisely. Bobby Buster, on organ, provides the basic chordal background and bass line, and is one of the few musicians in the Chicago area who practices discretion with the easily overbearing instrument. His solos indicate that he is not a mere Jimmy Smith emulator, but is well grounded in the blues idiom. Joe Diorio, the guitarist, is quickly becoming well known through his many Argo sideman dates, (among them is #730, "Move On Over", with Sonny Stitt and Nicky Hill.) and is soon scheduled for a featured album of his own. His blending with the organ's chordal backrounds, plus added rhythmic fill-ins are as interesting as his many solos. Completing the rhythm team is one of the finest drummers ever to come out of the Chicago area — Dorel Anderson. Considered to be one of the very few claimants to the mantle of the legendary Ike Day, (together with Wilbur Campbell) Dorel has sparked many of the live sessions held around town, and can also be heard on an earlier Argo album, #609, "Chicago Scene".
With the high caliber of musicianship contained in this album, detailed appraisal of the tunes is unnecessary. There are, however, several real highlights that I would like to pin-point for you.
The two Bossa Novas on side one, "FLAME AND FROST", and the pop tune, "OUR DAY WILL COME", are done in a light, airy manner, suggesting that Bennie and Sonny have a special liking for that particular musical mode. On "Flame", in particular, Sonny's offering is as pretty and uncomplicated a solo as you would ever want to hear. The middle two tunes, 'LET'S PLAY CHESS", and "DOUBLE DIP", are blues influenced, with the former having a simple, down theme, and the latter done in a bright tempo. The four bar trades between the horns on "Dip", and the famous Stitt tag ending, make this cut an exciting one.
The title tune of the album, "MY MAIN MAN", opens side two in a low-down, dirty groove with Diorio's solo very outstanding. Sonny lays right in there during his solo, and manages to stay pretty even while building his intensity, as only he can. The very beautiful "THE NIGHT HAS 1,000 EYES", is Bossa Nova theme-wise, then switches to 4/4 time for the solos. "BROILIN' the final selection, is another deep sounding blues, with the ending figure of the theme borrowed from Bird's "Hymn". On this track, the old-time stop chorus device is used behind the solos to great effect, and a strong backbeat permeates the rhythm pattern. B. G. opens his solo with a "C. C. Rider" quote, and then continues with some blues ingredients all of his own making.
Not much doubt can exist, after listening to this collection of relaxed, swinging, modem improvisation, that the featured horn players not only are professionals of the highest degree, but are imbued with exceptional natural talents that place them well above the ordinary run of "recording artists". Although they may not be considered as the utmost in new sound adventurism, their place in the annals of jazz history will be vell preserved and represented by their always swinging and vitality filled excursions into the morass of what is called creativity, because they always emerge smiling and victorious.
- Joe Segal
