LP-744

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

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

LP-709

Sonny Stitt - Rearin' Back

Released 1962

Recording and Session Information

Sonny Stitt, alto saxophone; Ronnie Mathews, piano; Arthur Harper, bass; Lex Humphries, drums
Ter Mar, Chicago, September 24 1962

11918 Cut plug
11919 Bunny R.
11920 Carpsie's groove
11921 Wee
11922 Queen
11923 Little girl blue
11924 Rearin' back

Track Listing

Rearin' Back	Sonny Stitt	September 24 1962
We	Woods, Sherman, Taobias	September 24 1962
Little Girl Blue	Rodgers and Hart	September 24 1962
Cut Plug	Sonny Stitt	September 24 1962
Queen	Sonny Stitt	September 24 1962
Carpsie's Groove	Sonny Stitt	September 24 1962
Bunny R.	Sonny Stitt	September 24 1962

Liner Notes

THE entire flavor of this Sonny Stitt set is one of happy, relaxed and swinging sounds. It is the first in quite a while with a regular group with which Sonny has been working.

Sonny's history of pioneering in the Modern Jazz field has been marked by many periods of ups, downs and in-betweens. Heralded at first as a "new Bird," then tossed up on the shores as an also ran imitator, Sonny has remained true to himself and to music by always maintaining his musical standards and projecting himself always forward. Now he is rapidly gaining in stature as his own man; most certainly the top alto man now playing!

This is the new rhythm section Sonny sported during a recent Chicago stay, and with which he has been traveling throughout the country. Having them to rely on for the kind of support an artist of his caliber should always have for accompaniment has had a bracing effect on Sonny's musical approach. Where here and there he had been lapsing into a "mechanical bag," because of inept rhythm sections or the overbearing turning toward the latest "hipness," Sonny has once again come forward as the refreshing inventive artist he is.

"Rearin' Back," the title tune of this album takes form in a relaxed Latin style with Calypso overtones somewhat reminiscent of "Matilda." All Of you who have seen Sonny in action know just how descriptive this title is, for Sonny always rears back when the going gets good.

"We" takes us directly back to the "Be-Bop" era (a good place to be). A favorite jam tune of the '40's and early '50's, it provides Sonny with impetus to a sparkling flight of typical "Stitt-isms," with a fine Ron Mathews piano solo separating Sonny's opening statement from the out chorus of fours with Lex Humphries.

"Little Girl Blue," done with the verse in front is the most poignant selection of the set and uncovers Sonny as a balladeer of the first caliber.

"Cut Plug," one of Sonny's many blues based originals closes side one with the basic feeling all good Jazz maintains. The performance is free flowing with hard swinging pulsations underlying Sonny's soul probings. Pianist Mathews keeps the feeling right "in the groove" both in his comping and solo.

Sonny has composed many "pop" styled tunes and opens side two with his newest contribution "Queen." In general flavor it reminds me of Miles' famous "Four," but Sonny's stamp is indelibly upon it. Mathews' beautiful locked chords used intelligently during his solo are not unlike the style invoked by another Argo pianist, Dodo Marmarosa.

"Carpsie's Groove." dedicated to Sonny's long-time friend and recurring manager, Richard Carpenter, is another blues based theme with an interesting reversion to one of the oldest devices used in basic Jazz, the stop-time and press roll to form part of the figure of the tune. It recurs frequently throughout and makes this selection one of the most interesting in the entire collection. The old must always be respected when it's good!

"Bunny R.," a second cousin to "Queen" ends up this refreshing Sonny Stitt album with a medium bounce approach which has always been one of Sonny's favorite tempos for unhurried improvisations. It's a fitting close to an LP which maintains that "unhurried" feeling from note one till the final overtone.

This then, is one of the true greats of our time, Sonny Stitt, "rearin' back" and letting his listening audience in on his secret of musical accomplishment.

Joe Segal

LP-697

Gene Ammons / Sonny Stitt – Dig Him!

Released 1962

Recording and Session Information

Sonny Stitt, alto saxophone, tenor saxoiphone; Gene Ammons, tenor saxophone; John Houston, piano; Buster Williams, bass; George Brown, drums
Chicago, August 26 1961

11183 A mess
11184 New blues up and down
11185 Time on my hands
11186 We'll be together again
11187 My foolish heart
11188 Red sails in the sunset
11189 Headin' west [Water Jug]
11190 A pair of red pants
11191 Autumn leaves
11192 But not for me

Track Listing

Red Sails In The Sunset	Kennedy, Williams	August 26 1961
But Not For Me	Gershwin	August 26 1961
A Pair Of Red Boots	Stitt	August 26 1961
We'll Be Together Again	Fisher, Laine	August 26 1961
A Mess	Stitt	August 26 1961
New Blues Up And Down	Ammons, Stitt	August 26 1961
My Foolish Heart	Young, Washington	August 26 1961
Headin' West	Ammons	August 26 1961
Autumn Leaves	Mercer, Prevert, Kpzma	August 26 1961
Time On My Hands	Adamson, Youmans, Gordon	August 26 1961

Liner Notes

ANYONE who's been around jazz for awhile can tell you that this is certainly not the first time Gene Ammons and Sonny Stitt have played together. And after hearing this album, even those relative newcomers to the music would be able to tell that these two men know each other's music so well and complement each other so perfectly, that at times it's hard to tell when one horn stops and the other begins.

Strangely enough, even though Ammons and Stitt have been around now for quite awhile, and would definitely have to be included on anybody's list of important saxophone players of the last decade and a half, they have both not really been given their due by critics, writers and the other marginalia of jazz. But other musicians have always known iust how important Sonny and "Jug" have been, and have never ceased to sing their praises. Many people who haven't really listened closely to Ammons in years think that the only thing Gene can do is play the loud part in wild saxophone duels. People who think like this perhaps have never heard the Ammons who is playing the opening bars of My Foolish Heart or We'll Be Together Again, two very beautiful ballads, on this album; or Gene's incredibly sophisticated solo on Autumn Leaves. Also, people who associate "Jug" solely with the honk cannot know how deeply he has influenced many of the young "far out" players like Rollins or Coltrane. In fact the Ammons influence is even a very heavy feature in the styles of young "avant garde" players like Archie Shepp of the Cecil Taylor group, who seem to have listened to "Jug" for a long time, and to have benefted by it immensely. But listen to New Blues Up And Down (a direct descendant of the old Blues Up And Down which, along with Stringin' The Jug, was one of the biggest Ammons-Stitt record hits during the old duel days) Time On My Hands or Headin' West as examples of how fluid and vital Gene's line is even at the quickest tempos. He never has to rely on the overly obvious phrase or the well worn cliché; he can always come up with the freshly turned note, the unusual phrase, no matter how old the tune might be. I mean who ever thought they'd hear Red Sails In The Suuset played like this? From Jug's first introductory funky-calypso phrase he invites you to a very singular rehearing of this veteran of the schmaltz circuit.

Sonny Stitt has been characterized too many times, by those people who seem always to be characterizing jazz performers on the basis of one small facet of their styles, as "a disciple of Charlie Parker." I think it would be safe to say that almost any saxophonist who has heard "Bird" can be called a disciple. But Stitt, along with Dexter Gordon, was one of the first people around to transfer what Parker was doing to the tenor saxophone. Although Stitt on tenor sounds nothing like Bird on tenor. But foc any saxophonist walking around today to be completely uninfluenced by Parker would be like a Christian not knowing who his religion was named after. It just hardly seems possible.

The terrible thing, it seems to me, is that too many people have heard that Sonny's been influenced by Bird, without understanding that Stitt is one of the few people who've been able to take so strong an influence and put it to such an admirably personal use. Stitt is first of all Stitt; and a mighty ubiquitous influence in his own right. There are many, many young tenor men around now whose connection to some of the Parker magic was gotten through Stitt's brilliant appropriation of it. Sonny's lovely solo on My Foolish should be enough to convince even the hardest head that Stitt is, and has been for a long time now, an individual voice, and one of the most exciting expressive voices we have. His line, even when he is playing a ballad, soars, and is multi-noted and fluid, without being thin or underweight. Sonny always gets enough meat into his solos, no matter how fast his fingers are moving.

The Stitt-Ammons combination works so well for several reasons, for one, both these players know their instruments as well as they know their own voices; probably better. They know their instruemnts so well that they know they don't constantly have to play meaningless sprays of notes just to show that they've had saxophone lessons. And though each man's style is very separate and singular, their overall approaches complement each other extraordinarily. Ammons is one of those rare saxophonists who was able to put Hawkins and Young together and still come out on top, with a style that is completely his own.

Sometimes Jug's attack is direct, in a manner vaguely reminiscent of Hawkins, but again sometimes it is subtle and graceful in that manner that Pres could have patented. Stitt on the other hand, got all his Pres training via Parker, but his long staggering multi-noted line is still softened and gracious. The Stitt and Ammons methods make for great contrast, but it is a contrast that is so compatible that sometimes it seems that there is only one very, very chameleon like saxophonist working. Their unison sound, e.g.. on New Blues or Headin' West, an Ammons' original is really a marvelous invention, like an organ made out of saxophones. And either soloist can come off this heavy driving duet line, and play a solo of such tenderness and subtlety, one wouldn't think it possible. Again, Autumn Leaves will convince you.

For some indication of how beautifully these musicians are able to extend each other's statements, Time On My Hands is suggested. On the opening phrases of the tune the line is played by Ammons with Stitt just behind him embellishing and commenting on the mam statement. Then Stitt takes the line, and Ammons is content to comment. The piece is resolved with one of the most elegant saxophone duets I've heard in some time, re-emphasizing the taste and musicianship with which these two players approach their work.

Sonny Stitt and Gene Ammons separately can about anything on the saxophone anyone can think of; together, as they have proven so often before, they are completely out of sight.

—LeRoi Jones

LP-683

Sonny Stitt - At The D.J. Lounge

Released 1961

Recording and Session Information

Sonny Stitt, alto, tenor saxophone; Johnny Board, tenor saxophone; Eddie Buster, organ; Joe Shelton, drums
"D.J. Lounge", Chicago June 1961

U11018 McKie's
U11019 It all depends on you
U11020 Blue moon
U11021 Jay Tee
U11022 I'm in the mood for love
U11023 Free chicken

Track Listing

McKie's	Sonny Stitt	June 1961
It All Depends On You	DeSylva, Brown, Henderson	June 1961
Blue Moon	Rodgers & Hart	June 1961
Jay Tee	Sonny Stitt	June 1961
I'm In The Mood For Love	Fields, McHugh	June 1961
Free Chicken	Sonny Stitt	June 1961

Liner Notes

BY THE middle of 1961, a club on Chicago's south side lying directly adjacent to the Tivoli theater and right across the street from the well-known Pershing Lounge had developed into what many considered the city's hippest jazz room.

Called McKie's Disc Jockey Lounge, it had for some months been steadily presenting the sort of talent and atmosphere that one used to be able to find in large quantity on the south side — Gene Ammons, Shirley Scott, Eddie (Lockjaw) Davis, and many perhaps lesser-known but hard-swinging musicians.

On this Saturday night in early June, Sonny Stitt was the featured attraction, and Sonny has a lot of followers in Chicago. With him on-stand was another in a long line of tough, big-toned tenor players that Chicago has developed — players like Ammons and Johnny Griffin — Johnny Board.

Board served a long apprenticeship with the Lionel Hampton orchestra, and from that affiliation alone it is obvious that not only is he a capable musician but is also well-schooled in devices designed to get a crowd to patting its collective foot. He has a good-sized trick bag. as they say.

It would seem unnecessary to mention Sonny's qualifications as an audience-waker-upper, in that he has completed nearly two decades of a most prominent jazz career.

The set recorded here starts out in fine warm-up fashion as Sonny and Johnny work over a medium-paced blues, with Sonny soloing first, then Board, then a long exchange of choruses, much in the manner of a couple of boxers staying pretty much with left jabs and hooks and an occasional exploratory right hand in the first round of a fight.

Sonny picks up the alto for It All Depends On You, stating the melody on the first chorus, then giving way to Board for the first solo. They then exchange eights for a chorus before Stitt comes back on the melody to begin what develops into a long, sinuous solo.

Blue Moon finds Stitt spelling out the melody on the first chorus with Board taking the first solo again. Sonny's entrance is coolly Getz-like, then warms up.

The tempo goes upstairs on Jay Tee, as both men begin to get their shoulders into the matter at hand. Board solos first, excellently, after which Sonny coasts in, then opens up his sound and begins to cook. A furious battle of eights between the two horn brings the performance to a climax.

I'm In The Mood For Love follows, with Sonny back on alto for a lovely solo performance that weaves beautifully through a splendid ballad.

The set-capper, Free Chicken, develops into a furiously Stormy get-together, as Board's solo triggers a bristling bunch of exchanges and hard rights that leaves the audience limp.

It is the finishing touch to an album that almost physically drags you into an old-fashioned blowing session between two tenor saxists who know what it's all about and who do not hesitate to jump into some deep musical waters to prove it.

You'll dig it.

Jack Tracy

LP-661

Sonny Stitt - Burnin'

Released May 1960

Recording and Session Information

Sonny Stitt, alto saxophone, tenor saxophone; Barry Harris, piano; Bill Austin, bass; Frank Gant, drums
Chicago, August 1, 1958

8942 Ko-ko
8943 I'll tell you later
8944 It's hipper than that
8945 Lover man
8946 A minor sax
8947 Easy living
8948 Reed and a half
8949 Look for the silver lining
8950 How high the moon
8951 Last tune (unissued)

Track Listing

Ko-Ko	Parker	August 1 1958
A Minor Sax	Sonny Stitt	August 1 1958
Lover Man	Davis, Sherman, Ramirez	August 1 1958
Reed And A Half		August 1 1958
How High The Moon	Lewis, Hamilton	August 1 1958
I´ll Tell You Later	Sonny Stitt	August 1 1958
Look For The Silver Lining	DeSylva, Kern	August 1 1958
Easy Living	Robin, Rainger	August 1 1958
It´s Hipper Than That	Sonny Stitt	August 1 1958

Liner Notes

WHEN A MAN has an avowed devotion to "make people happy through music," then that man hopes he shall be welcomed with open arms. Not so Sonny Stitt. Alcohol, unsympathetic women, narcotics, and unfair musical criticism have singularly and compoundedly vented their spleen on the sensitive artist. More than once, that welcome mat revealed itself to be a shag rug on a slippery surface and Sonny was found picking himself up to knock on the door of fulfillment once more.

Thank heavens for that resiliency. Now the prematurely graying Stitt has a sustaining philosophy regarding his roller coaster existence.

"Everybody has his problems," he states, "but what I always say, you shouldn't let your problems rob you, for tomorrow is a brand new day."

The musical day dawned early for Stitt. His mother took the 14-year-old devotee to and from work three nights a week and on weekends. On February 2, 1960, Edward Stitt was 35 years old and had 21 years of professional musicianship behind him.

These decades have been highlighted with many coveted awards on both the alto and the tenor saxophones. Although his first love is the alto, you will note here that he plays both horns with equal facility. Here he alternates horns with fantastic casc within the confines of a single tune. His sailing, angular tenor style is the antithesis of the florid, rapid-fire alto style.

"They are two different instruments," Sonny explains. "They have two different sounds and they are supposed to bc played differently." Aside from these two horns, Sonny has bccn toying with the idea of developing a third sound on the soprano saxophone. He added,

"The flute is good listening, but I can't imagine myself as the Pied Piper — at least with a flute."

These tracks were made after a minimum number of "takes" to avoid a constant fear which Sonny has...too much polish.

"There is a little more creation involved when you don't over-rehearse. It's like an artist painting a picture. If it's good, then leave it alone. When it's finished, it's over. You can't do the same painting or the same music over again. This is why I couldn't take a studio gig if I were offered one. I can't play the same thing over and over again."

In an era of evasive statements and noncommital answers, Sonny Stitt is the answer to a writer's dream. He is utterly fearless in his opinions and remarks concerning jazz.

"Let's face it, jazz has been here since before ragtime began and people can't do without music — it's food. It's food for the musician and food for the people." He aligns himself firmly with the jazz musicians of the middle west and the east coast tradition.

"The boys on the east coast are more like men when they play," he says. "Not that the west coast fellows don't know what they're doing, because they do. They play all the right notes, but the feeling doesn't seem to be there — something seems to be missing.

"I think jazz is supposed to be warm, not hot all the time, but warm, not cool. It's supposed to have a little kick to it, a little pop of the finger." After reflecting a moment, he qualified his stand.

"I won't venture to say all west coast jazz is bad. It depends on the man and not the climate he comes from."

Stitt holds little regard for the environmental influences upon the musician.

"Shucks, I've been down in Georgia and felt like I was raising sand — had a good time. To me, the most important elements necessary for a good performance are the musician himself, his frame of mind, and the band he's working with."

Some people seem to have been born to get all the breaks, others were destined to make their own. Sonny Stitt is a breaks-maker if ever there was one. Once again he is personally and musically on the ascent. When his coaster car reaches the top this time, Sonny plans to brake and stay there.

Barbara J. Gardner

LP-629

Sonny Stitt

Released 1958

Recording and Session Information

Chicago, c1957-1958
Sonny Stitt, alto saxophone, tenor saxophone; Ramsey Lewis, piano (probably); Eldee Young, bass; Redd Holt, drums

Cool blues
Dancing on the ceiling
Everyone does
Jack Spratt
Just you, just me
Mr. Son
Propagoon
This is always

Propapagoon	Sonny Stitt	1957-1958
This Is Always	H. Warren, M. Gordon	1957-1958
Jack Spratt	Sonny Stitt	1957-1958
Just You, Just Me	J. Greer, R. Klages	1957-1958
Cool Blues	C. Parker	1957-1958
Mister Sun	Sonny Stitt	1957-1958
Dancing On The Ceiling	R. Rodgers, L. Hart	1957-1958
Everyone Does	Sonny Stitt	1957-1958

Liner Notes

N/A