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'!2G00BJ-Hbfjbd! Sonny Stitt & The Top Brass Atlantic SD 1395 Sonny Stitt personnel Sonny Stitt (as); Jimmy Cleveland, Matthew Gee (tb); Blue Mit- chell, Dick Vance, Reunald Jones (tp); Willie Ruff (frh); Duke Jordan (p); Perri Lee (org); Joe Benjamin (b); Philly Joe Jones, Frank Brown (dr) tracks Souls Valley; Coquette; On A Misty Night; Stittsie; Poinciana; Boom-Boom; Sea Sea Rider; The Four Ninety; Hey Pam General opinion has it that Sonny Stitt always stood in Charlie Parker’s shadow. That, however, is unjustifiable. The legendary jazz critic Nat Hentoff wrote, for example: »Sonny has been one of the wholly involved players, well known and admired for his catalogue # soul and the earthiness of his message only by musicians who feel and play like he does 1395 and by that part of the jazz audience that is most moved by naked, open emotion. He has made his mark with them as an honest yea-sayer who can’t help but play what he set contents 1 LP / standard sleeve knows and feels.« The present recording is proof of this – a session which shouldn’t re- ally have worked out so well. Sonny Stitt’s alto saxophone presides over a seven-man- pricecode strong brass group, and although the prospect of a Sonny Stitt big band does not SC01 sound too promising initially, this rendezvous is really enjoyable, thanks in part to release date Stitt’s superb solos. At this time he was on the top of his form and he plays freely over March 2020 the basis provided by the brass section consisting of Blue Mitchell, Jimmy Cleveland barcode and Willie Ruff. The arrangements by Tadd Dameron and Jimmy Mundy are closely-knit yet offer enough room for swing and a generous pinch of soul. Special highlights are '!2G00BJ-hbfjbd! contributed by the unknown, female organist Perri Lee –, little groovy additions that are really successful and infuse the arrangements with a slender sound and sparkle. Al- original recording though Sonny Stitt & The Top Brass may not stand in the limelight like Boss Tenors or July 1962 in New York City Salt And Pepper, it is certainly on a par with these from an artistic point of view. original production Ahmet Ertegun ratings (max. 5 stars) Es ist gängige Meinung, dass Sonny Stitt immer im Schatten Charlie Parkers stand. Un- AllMusic: 4,5 Discogs: 4,11 RYM: 3,41 berechtigterweise, der legendäre Jazzkritiker Nat Hentoff schrieb zum Beispiel: »Sonny war einer der vollständig involvierten Musiker, für den Soul und die Ursprüng- lichkeit seiner Botschaft bekannt und bewundert nur von Musikern, die wie er fühlen und spielen und bei dem Teil des Jazz-Publikums, der am meisten von nackten, offe- nen Gefühlen bewegt wird. Er hat sich einen Namen gemacht als ehrlicher Optimist, der einfach nicht anders kann als zu spielen, was er weiß und fühlt.« Die vorliegende Aufnahme ist Beweis für diese Feststellung, eine Session, die eigent- lich nicht so gut funktionieren sollte. Sonny Stitts Altsaxophon steht einer sieben Mann starken Bläsergruppe vor, und auch wenn die Aussicht auf eine Sonny Stitt Big- band zunächst nicht so verheißungsvoll klingt - dieses Date macht wirklich Spaß, auch wegen Stitts großartiger Soloarbeit. Er ist zu diesem Zeitpunkt perfekt in Form und spielt frei über der Basis der brass section um Blue Mitchell, Jimmy Cleveland, und Wil- lie Ruff. Die Arrangements von Tadd Dameron und Jimmy Mundy sind straff, bieten aber genug Raum für Swing mit einer guten Prise Soul. Ein Highlight sind die Beiträge der unbekannten Organistin Perri Lee, kleine Groover, die gut gelungen sind und mit schlankem Sound die Arrangements durchdringen und funkeln lassen. Sonny Stitt & The Top Brass steht vielleicht nicht so im Blickpunkt wie Boss Tenors oder Salt And Pepper, ist künstlerisch aber auf jeden Fall mit diesen in einem Atemzug zu nennen. WWW.SPEAKERSCORNERRECORDS.COM | [email protected].
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