Sonny Stitt - Lone Wolf - The Roost Alternates - NEW SEALED 180g LTD & Numbered
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Description
Sonny Stitt Lone Wolf - The Roost Alternates Run Out Groove 037 Details About The Record: New vinyl collection of alternate takes making their
debut to vinyl. 180g vinyl - limited and numbered.
Biography
Sonny Stitt was born Edward Boatner, Jr. into a musical family in
Boston on February 2. 1924 and later moved to Michigan where he
took the family name of his step father Robert Stitt. By age 20, he was
already a professional musician, playing alto saxophone with the Tiny Bradshaw
band. A high profile stint with Billy Eckstine’s big band; a hotbed of bebop
innovators followed in 1945. A string of stellar small group sessions in
the late ‘40s with Dizzy Gillespie, Kenny Dorham, Kenny Clarke, Fats Navarro
and Bud Powell among others earned him the renown as an outstanding
modern saxophone virtuoso. His similarity to Charlie Parker’s style, which
he always maintained was parallel development rather than an effort to
emulate Bird, unfairly branded him a Parker imitator. Phil Woods and Charles
McPherson would later suffer a similar assessment. But as Gene Quill was
heard to say at Birdland one night when a patron accused him just mimicking
Bird, “Why don’t you try imitating Charlie Parker!” Teddy Reig, who had
produced Stitt’s many appearances on Savoy sessions, had started Roost Records
in 1949 and was quick to record Stitt after the dissolution of the
Ammons-Stitt band. Reig would continue to produce a series of magnificent
Stitt albums until 1965. True to his lone wolf nature, Stitt would record
throughout this period as a non-exclusive artist, making albums for Verve,
Prestige, Argo and Impulse among others. Roost did not have the budget and
distribution that other labels enjoyed, so much of his work here, despite its
excellence, did not garner the sales or reputation that it deserved. Stitt’s first
Roost session on November 20, 1952 is represented here by alternate takes
of all four titles recorded at the date. Sonny is on tenor sax throughout. He’d
introduced the horn on a J.J. Johnson three years earlier and began using it with
increasing regularity. His sound and style on the tenor are unique and quite
distinct from his alto work. The rhythm section is unusual for Stitt; John Simmons
and Jo Jones were stylistically rooted in the swing era. The mystery man here is
Fletcher Peck, about whom nothing is known, in his only recorded appearance.
The standards, “They Say It’s Wonderful” and “Why Do I Love You” are
taken at medium and up tempos respectively. Stitt’s “Symphony Hall Swing”
(also known as “Mass Ave Swing”) is built on “I Got Rhythm” changes and
borrows part of the melody from Thelonious Monk’s “Rhythm-A-Ning.” His
medium-paced blues “Sonny’s Bunny” was recut for Roost three years later with
Quincy Jones’s orchestra backing up the saxophonist. Sonny shifts to alto sax
for balance of this album. The second (December 15/16, 1955) and fourth
(August 30, 1957) record dates in this collection reflect an inadvertent advantage
of Stitt working as a single rather than as a band leader. In the hands of the right
producer, Stitt could enjoy first class rhythm sections that wouldn’t consider
going on the road. The ’55 session yields gorgeous readings of “The Nearness
Of You,” on which Basie guitarist Freddie Green joins the quartet, and “If I Should
Lose You.” The third session here, which produced “37 Minutes And 48 Seconds
With Sonny Stitt,” comes from late 1956 or January 23, 1957 date. The three
alternate takes add another 10 minutes and 49 seconds to the mix! Dolo Coker,
Edgar Willis and Kenny Dennis all make their recording debut here. They may
have been working with some regularity with Stitt. Stitt takes “Sweet Georgia Brown”
at a furious tempo with a clear bebop attitude. The medium-slow “Blues For
Yard” is Sonny’s tribute to Charlie Parker, whose magnificent blues playing is
often the most overlooked aspect of his achievements. Stitt digs deep on
“Harlem Nocturne,” a perennial sexy feature for tenor saxophonists. That Rolls
Royce of rhythm sections (Jones, Marshall and Wilson) returns for “Sonny Stitt
With The New Yorkers” represented here by alternates of a blues and two standards.
Stitt’s solo turns “Engos, The Bloos” into a dazzling bebop masterpiece.
By 1957, the 12” LP format was the standard. The quartet takes advantage
of the extended playing time by stretching out on “People Will Say We’re In Love”
and a soulful “It Might As Well Be Spring.” Sonny Stitt was a true improviser
and his solos on these alternate takes differ substantially from the later
takes chosen to be the masters. Some of them were uncovered by
Teddy Reig in 1986 for an LP entitled “Symphony Hall Swing.” The rest were
first released on the 2001 Mosaic CD collection “The Complete Roost Sonny
Stitt Studio Sessions,” but have yet to appear on the vinyl format.
Track Listing:
Side A 1 They Say It’s Wonderful Alternate Take 2:45 2 Why Do I Love You Alternate Take 2:45 3 Symphony Hall Swing Alternate Take 2:15 4 Sonny’s Bunny Alternate Take 2:58 5 The Nearness Of You Alternate Take 5:22 6 If I Should Lose You Alternate Take 4:29 7 Sweet Georgia Brown Alternate Take 3:33 Side B 1 Blues For Yard Alternate Take 3:09 2 Harlem Nocturne Alternate Take 4:07 3 Engos, The Bloos Alternate Take 3:34 4 People Will Say We’re In Love Alternate Take 7:51 5 It Might As Well Be Spring Alternate Take 6:25Personnel on tracks A1-A4: Sonny Stitt (ts), Fletcher Peck (p),
John Simmons (b) Jo Jones (d) NYC 11/20/52
Personnel on tracks A5 & A6: Sonny Stitt (as), Hank Jones (p),
Freddie Green (g), Wendell Marshall (b), Shadow Wilson (d),
NYC 12/15/55 and 12/16/55
Edgar Willis (b), Kenny Dennis (d) NYC late 1956 or 1/23/57 Total side 1: 22:47
Personnel on tracks B1 & B2: Sonny Stitt (as) Dolo Coker (p),
Edgar Willis (b), Kenny Dennis (d) NYC late 1956 or 1/23/57
Personnel on tracks B3-B5: Personnel: Sonny Stitt (as), Hank Jones (p),
Wendell Marshall (b), Shadow Wilson (d), Nola’s Penthouse Sound NYC 8/30/57
cut by Jeff Powell for Take Out Vinyl at Sam Phillips Recording Studio.
1LP, 180g black vinyl pressed at Record Industry in the Netherlands.
1LP comes in a deluxe single pocket tip-on jacket with individual
numbering. The package includes an 11x11 insert, features Francis
Wolff photos and liner notes by jazz producer, Michael Cuscuna.
NEW SEALED 180g Limited and Numbered LP
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