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An Analysis of Sonny Stitt T

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An Analysis of Sonny Stitt T Sponsoring Committee: Dr. David Schroeder, Chair Dr. Panayotis Mavromatis PRACTITIONER AND PROPHET: AN ANALYSIS OF SONNY STITT’S MUSIC AND RELATIONSHIP TO CHARLIE PARKER Murray James Morrison Program in Jazz Performance Department of Music and Performing Arts Professions Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Steinhardt School of Culture, Education, and Human Development New York University 2018 Copyright © 2018 Murray James Morrison ACKNOWLEDGEMENTS Thank you to my advisor and dissertation committee chair Dr. David Schroeder. Thank you to my dissertation committee member Dr. Panayotis Mavromatis. Thank you also to Dr. Thomas MacFarlane and Dr. David Elliott. Thank you to Dan Morgenstern and the staff at the Institute of Jazz Studies at Rutgers University. Thank you to Nancy Hall, NYU Steinhardt’s Coordinator of Doctoral Studies. Thank you to my former confrères Dr. Robert Sabin and Dr. Michael Eckroth. Thank you to my teachers at NYU: Kenny Werner, Rich Shemaria, Chris Potter, Stefon Harris, Jean-Michel Pilc, and Dr. Anton Vishio. Thank you also to my earlier teachers: Patricia Bevans, Michael Eddy, Jim Brenan, Raymond Baril, Jim Riggs, Ralph Bowen and Lewis Porter. Thank you to my wife Liu and my daughter Melody. Thank you to my father Murray, my mother Cheryl, my brother Mathew, my aunt Lana and my uncle Andy. Thanks be to God, through whom all things are possible. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii LIST OF MUSICAL EXAMPLES xii CHAPTER I RESEARCH OBJECTIVE 1 Introduction 1 Problem Statement 5 Sub-problems 5 II BEBOP AND THE INFLUENCE OF CHARLIE PARKER 7 A Musical Revolution 7 “Like a Prophet” 11 Parker’s Imitators 15 III THE LIFE AND MUSIC OF SONNY STITT 18 Introduction 18 Family Background 21 Early Music Education 23 Early Professional Work 25 The Tiny Bradshaw Orchestra 27 The Billy Eckstine Orchestra 30 The Dizzy Gillespie Orchestra and Sextet 32 Other New York Work 34 continued iv Chicago, Detroit, Lexington 35 The Tenor Saxophone 39 Gene Ammons 41 Back in New York 43 Prestige and Roost Records 45 Career as a Single Artist 48 First Marriage/Death of Charlie Parker 50 Verve Records and Jazz at the Philharmonic 52 New Quartet and Sonny Side Up 54 JATP and Argo Records 57 The Miles Davis Quintet 60 Second Marriage 64 New Recording Opportunities 66 The Organ Bands 70 IV LITERATURE REVIEW 75 Introduction to the Sonny Stitt Literature 75 Stitt’s Early Life and Music Career 76 Stitt’s Recordings 82 Stitt and Parker 84 Omissions in the Stitt Literature 85 Bebop and the Jazz Worldview 87 V METHOD 90 Introduction 90 Historical Analysis 92 Selection Criteria 92 Challenges in Historical Research 96 Musical Analysis 98 Overview of Approaches to Analysis of Jazz Improvisations 99 Analysis of Charlie Parker Improvisations 103 Analysis of Sonny Stitt Improvisations 107 continued v Analysis Method in the Present Study 112 Notation 118 Transcription Method 120 Challenges in Jazz Notation and Analysis 125 Selection Criteria 134 VI HISTORICAL ANALYSIS I: STITT’S CAREER 138 Introduction 138 Stitt’s Musical Influences 139 Early Musical Influences 140 Lester Young 142 Charlie Parker 147 Encountering Parker’s Music 150 Charlie Parker with Jay McShann 151 Other Recordings 153 Washington, D.C. 156 Meeting Charlie Parker 157 Stitt in New York 163 Billy Eckstine and Dizzy Gillespie 164 New York Music Critics, 1946–1949 168 Parker’s Death 172 Incident at the Apollo Theater 172 Keys to the Kingdom 173 Pallbearer at Parker’s Funeral 177 Memorials and Tributes 178 Live Performances 179 Recorded Tributes 181 Stitt Plays Bird 182 VII HISTORICAL ANALYSIS II: STITT’S CRITICS 187 Introduction 187 Establishing a Critical Consensus 188 Before the Critical Consensus 189 continued vi After the Critical Consensus 190 “Parker’s Best Heir” 191 “Almost a Carbon Copy” 194 Stitt’s Contemporaries 198 Summary 202 Analytical Statements from Jazz Writers and Critics 205 Michael James 206 Martin Williams 210 Barry McRae 212 Brian Morton 214 Jim Burns 215 Dan Morgenstern 218 Stuart Nicholson 219 Gerald Early 221 Gerald Majer 224 Summary 227 VIII MUSICAL ANALYSIS OF SELECT STITT AND PARKER SOLOS FROM 1944 TO 1946 233 Introduction 233 “Ready, Set, Jump” and “Oop Bop Sh’Bam” 234 “Red Cross” 241 Note on Selection of Repertoire 243 IX MUSICAL ANALYSIS OF SONNY STITT’S SOLO ON “READY, SET, JUMP” 247 Introduction 247 Stitt’s Bandmates and the Swing Style 248 Timbre and Expressive Devices 249 Eighth-Note Phrasing 252 Harmony 253 Chromatic Chord Substitution 257 Phrase Construction 259 Melodic Contour 261 Conclusion 263 vii X MUSICAL ANALYSIS OF SONNY STITT’S SOLO ON “OOP BOP SH’BAM” 267 Introduction 267 Double-Time Rhythm 271 Approaches to Phrasing: Stitt and Gillespie 276 Phrase Construction 279 Harmony 282 Chromaticism 284 Blues Inflection 287 Timbre 289 Conclusion 290 XI MUSICAL ANALYSIS OF CHARLIE PARKER’S SOLO ON “RED CROSS” 294 Introduction 294 Recording and Composition 297 Musical Maturity 299 Rhythm 300 Swing Feel and Note Placement 303 Accentuation 306 Parker’s Influence on the Rhythm Section 309 Harmony 312 Chromatic Passing Tones 316 Melodic Contour 318 Chord Substitution 320 Blues Figures 322 Sound and Inflection 327 Conclusion 333 XII SUMMARY OF ANALYSIS OF SELECT SOLOS FROM 1944 TO 1946 337 Review of Solos 337 continued viii “Ready, Set, Jump” and “Oop Bop Sh’Bam” 337 “Red Cross” 339 Similarities 341 Differences 346 Conclusion 349 XIII MUSICAL ANALYSIS OF SELECT PARKER AND STITT SOLOS ON “KO KO” 361 Introduction to “Cherokee” 362 “Cherokee” and Parker 363 “Cherokee” and Stitt 366 Introduction of “Ko Ko” 371 “Ko Ko” and Parker 372 “Ko Ko” and Stitt 374 Compositional Characteristics 378 Form and Melody 378 Harmony 379 Tempo and Difficulty 380 XIV MUSICAL ANALYSIS OF CHARLIE PARKER’S SOLO ON “KO KO” (1945) 383 Introduction 383 Recording and Composition 384 First Solo Break 387 Second Solo Break 391 Phrasing and Accentuation 397 Form 399 Sequences 403 Prepared Material 408 Quotations 411 Note Placement and Swing Feel 412 Harmony 415 Timbre 421 Conclusion 425 ix XV MUSICAL ANALYSIS OF SONNY STITT’S SOLO ON “KO KO” (1963) 430 Introduction 430 Recording 432 Composition and Form 434 Solo Breaks 435 Phrasing and Rhythm 441 Blues and Quarter-Note Figures 446 Harmony 453 Harmony and Form 457 Chromaticism 461 Vocabulary 465 Sequences and Quotes 471 Accentuation 476 Note Placement and Swing Feel 478 Timbre 481 Conclusion 483 XVI CONCLUSIONS 486 Summary of Problem 486 Stitt’s Career 487 Stitt’s Critics 493 Musical Analysis 497 Additional Conclusions 500 Implications for Further Study 510 BIBLIOGRAPHY 513 APPENDICES 532 A SONNY STITT’S SOLO ON “READY, SET, JUMP” (1944) 532 continued x B SONNY STITT’S SOLO ON “OOP BOP SH’BAM” (1946) 533 C CHARLIE PARKER’S SOLO ON “RED CROSS” (1944) 534 D CHARLIE PARKER’S SOLO ON “KO KO” (1945) 536 E SONNY STITT’S SOLO ON “KO KO” (1963) 542 xi LIST OF MUSICAL EXAMPLES 1 Opening of the Stitt and Nicholas’s solos on “Ready, Set Jump” 250 2 Stitt’s use of timbral inflection in “Ready, Set, Jump” 251 3 End of Stitt’s solo in “Ready, Set, Jump” 252 4 Stitt’s use of chord tones on “Ready, Set, Jump” 254 5 Stitt’s use of ninths in “Ready, Set, Jump” 255 6 Opening of trumpet solo in “Ready, Set, Jump” 257 7 Opening of Stitt’s solo in “Ready, Set, Jump” 258 8 Changes in melodic contour in Stitt’s “Ready, Set, Jump” solo 262 9 Stitt’s use of wide leaps and stepwise motion in “Ready Set, Jump” 262 10 Introduction to “Oop Bop Sh’Bam” 272 11 Stitt’s use of sixteenth notes in “Oop Bop Sh’Bam” 1 273 12 Stitt’s use of sixteenth notes in “Oop Bop Sh’Bam” 2 273 continued xii 13 Accentuation of sixteenth notes in Stitt’s “Oop Bop Sh’Bam” solo 274 14 Accentuation of eighth notes in Stitt’s “Oop Bop Sh’Bam” solo 275 15 Gillespie’s long sixteenth-note phrase on “Oop Bop Sh’Bam” 277 16 Clarity and precision in Stitt’s “Oop Bop Sh’Bam” solo 277 17 Thematic discontinuity in Stitt’s “Oop Bop Sh’Bam” solo 281 18 Midpoint of Stitt’s solo in “Oop Bop Sh’Bam” solo 282 19 Stitt’s targeting of thirds on “Oop Bop Sh’Bam” 283 20 Stitt’s use of melodic and rhythmic contour in “Oop Bop Sh’Bam” 284 21 Stitt’s use of chromaticism in “Oop Bop Sh’Bam” 285 22 Five-note figure in Stitt’s solo in “Oop Bop Sh’Bam” 286 23 Stitt’s use of a five-note figure in “Oop Bop Sh’Bam” 287 24 Blues-inflected line in Stitt’s solo in “Oop Bop Sh’Bam” 288 25 Stitt’s solo and bridge melody in “Oop Bop Sh’Bam” 289 26 Parker’s rhythmic ideas in his “Red Cross” solo 301 27 Parker, Hart, and Grimes solo on the B section in “Red Cross” 302 28 Parker’s changing note placement in “Red Cross” 1 304 29 Parker’s changing note placement in “Red Cross” 2 304 continued xiii 30 Parker’s changing note placement in “Red Cross” 3 305 31 Parker’s changing accent placement in “Red Cross” 306 32 Parker’s changing accent placement in “Red Cross” (detail) 307 33 Parker’s use of accent patterns in “Red Cross” 308 34 West’s changing drum pattern in Parker’s “Red Cross” solo 311 35 Parker’s use of chord tones in “Red Cross” 313 36 Parker’s use of double-time in “Red Cross” 314 37 Parker’s use of double-time in “Red Cross” (detail) 315 38 Parker’s use of chromatic passing tones in “Red Cross” 317 39 Wide leaps in Charlie Parker’s “Red Cross” solo 318 40 Parker’s insertion of fast notes in “Red Cross” 319 41 Parker’s use of chord substitution on the bridge of “Red Cross” 320 42 Parker’s use of bluesy material in the A sections of “Red Cross” 323 43 Parker’s use of blue thirds in “Red Cross” 325 44 Parker’s use of blue thirds in “Red Cross” 2 325 45 Parker’s
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