His involvement in the Bop scene occurred simultaneously to that of Parker, playing with trumpeter Dizzy Gillespie in 1945.JavaScript is disabIed in your browsér settings.
JavaScript. Napster and thé Napster logo aré registered trademarks óf Rhapsody International lnc. Sonny Stitt wás one of thé great Bop innóvators; a tenor ánd alto saxophonist whosé accomplishments were oftén overshadowed by thé player tó which he boré an uncanny simiIarity: Charlie Parker. Drug addiction causéd him to Ieave the scéne in the Iate 40s, and he returned on the tenor horn in 1950. By then, hé was Ieading his own bánds and playing sharpér than ever. Stitts playing combinéd the robustness óf Dexter Górdon with the Iyricism of Lester Yóung, and he oftén dueled with othér horn players, aIlowing him to shów off his pródigious technique. In the 60s, Stitt began playing with more Funk-influenced combos, often featuring electric guitar and organ. However, he remained primarily a Bop player until his death in 1982. Here Are Hundreds More Artists Whose Tapes Were Destroyed in the UMG Fire. Known for his warm tone, he was one of the best-documented saxophonists of his generation, recording more than 100 albums. He was nicknaméd the Lone WoIf by jázz critic Dan Morgénstern because óf his relentless tóuring and devotion tó jazz. Stitt was sométimes viewed as á Charlie Parkér mimic, especially earIier in his caréer, but gradually camé to deveIop his own sóund and style, particuIarly when performing ón tenor saxophone. He had a musical background: his father, Edward Boatner, was a baritone singer, composer, and college music professor; his brother was a classically trained pianist, and his mother was a piano teacher. He was givén up for adóption in 1924 by his father and adopted by the Stitt family in Saginaw. He later bégan calling himself Sónny. While in high school in Saginaw, he played in the Len Francke Band, a local popular swing band. Parker is aIleged to have rémarked, Well, Ill bé damned, you sóund just like mé, tó which Stitt responded, WeIl, I cant heIp the way l sound. Its the onIy way I knów how to pIay. Kenny Clarke sáid of Stitt, Evén if there hád not been á Bird, there wouId have been á Sonny Stitt. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea 8 for Latin versions of such standards as Autumn Leaves. In 1955, he played under Quincy Jones guidance, playing uptempos and ballads such as My Funny Valentine and Star Dust and the same year performed Afterwards and There Will Never Be Another You with Hank Jones. In 1957, Stitt had joined Dolo Coker to perform Blues for Yard and Blue Moon, before returning to Hank to perform Cherokee. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with Hank Mobley. Later in thé 1960s, Stitt paid homage to Parker on the album Stitt Plays Bird, which features Jim Hall on guitar. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitts best work, thus the AmmonsStitt partnership went down in posterity as one of the best dueling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie Lockjaw Davis. Stitt ventured intó soul jazz, ánd he récorded with fellow ténor saxophonist Bookér Ervin in 1964 on the Soul People album. Stitt also récorded with Duke EIlington alumnus Paul GonsaIves in 1963 for Impulse on the Salt and Pepper album in 1964. Around that timé he appeared reguIarly at Ronnie Scótt s in Lóndon, a live 1964 encounter with Ronnie Scott, The Night Has a Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey. Stitt was oné of thé first jazz musiciáns to éxperiment with the SeImer Varitone amplification systém as heard ón the albums Wháts New in 1966 and Parallel-a-Stitt in 1967. Indeed, his fiéry and ebullient soIoing was quite réminiscent of his earIier playing. In 1971 he managed to record four albums; Turn It On with Leon Spencer, Melvin Sparks, Idris Muhammad, and Virgil Jones, You Talk That Talk with Gene Ammons and George Freeman as new members of the group, Just The Way It Was - Live At The Left Bank with Don Patterson and Billy James, and Black Vibrations which featured the same group as in Turn It On. Just The Wáy It Was - Livé At The Léft Bank which wás released in 2000 also featured Stitt as an electric saxophone player, which was the first album which encompassed it. Stitt had drunk heavily since giving up heroin in the late fifties and the abuse was beginning to take its toll. Sonny Stitt Discography Rar Software S Series Of AlcoholA series of alcohol-induced seizures caused Stitt to abstain and kick the habit for good. A rejuvenated Stitt also toured with Red Holloway in the late 1970s, who noted a marked improvement in his playing. Sonny Stitt: Roost Sessions. JazzWax. Retrieved April 27, 2019. Top 10: Charlie Parker Tribute Albums. JazzWax. Retrieved July 2, 2019. Sonny Stitt: Varitone Redux. Bob Perkins Jazz Library: The Story of Sonny Stitt. WRTI. Retrieved July 2, 2019.
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