Customer Reviews

Endgame Brilliance: Constellation & Tune-Up

5 star:		(6)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

After several years of indifferent recording sessions for a variety of labels, Sonny Stitt walked in and blew the house down on these two early 70's dates for Cobbelstone Records (NOT "Muse" as was stated above--"Muse" put out LP reissues in the 1980's!). I think Stitt was invigorated by the tour he had just done with the "Giants of Jazz" and was pushed harder by this swingin' combo than he had been in years. There was never a more fluid and melodic sax player than Sonny Stitt--and that INCLUDES Bird. I can't reccomend this reissue highly enough.

It's always bothered me that the world's most ubiquitous and prolifically recorded saxophonist, not to mention arguably the most "perfect" tenor and alto player in the history of jazz, was not "discovered" by many critics and listeners until two no-nonsense, straight-ahead, blistering sessions that he recorded for Cobblestone records in the mid-seventies: "Tune-Up" and "Constellation." Both of these stellar sessions are collected on this CD, but how frustrating that not only has the original label gone under but its successor, "32 Jazz," has folded as well. Fortunately, I've been able to locate a mint LP copy of "Constellation" to go along with the earlier session, but this music would admittedly receive far more playing time from me if it were on a single CD.

If you can locate "Endgame Brilliance" (and at a time when you're not too strapped financially), by all means grab it up. These may be Stitt's best recordings during the last ten years of his career; they're certainly among his most uncompromising. On "Tune-Up" Sonny turns in a tour-de-force on "I Got Rhythm" changes, using two tempos and both of his horns. On "Constellation" he uses the same changes, ups the tempo a notch, and sticks to alto, once again confirming my slight preference for his work on the smaller and lighter instrument.

[Addendum: The two sessions are not yet available domestically but can be ordered in a single-CD format from Spain (do a search for Fresh Sound Records). Listening to the disc now, I'm going to say that it's quintessential, not necessarily the "best," Stitt. In effect, these two 1972 dates represented Sonny stripping his horns of his Selmer Varitone device, announcing an aversion to the Hammond B3 organ, and moving beyond the '60s "funk/soul artist" tag. It was an inspirational moment to keepers of the flame at a time when country, fusion, and disco ruled the day.]

It's hard to find good jazz with all of the trash some labels put out. This CD immediately became one of my favorites. The clarity of sound of the recording itself would be enough for me to purchase it, let alone the fact that it includes two of Stitt's best albums on one disc. Some of the tunes swing so hard, it is impossible not to tap your foot. "I can't get started" is some of the best ballad playing I've heard, and being a saxophonist myself, I use it as a model of definitive playing. If one purchases this album, I can garantee that they will enjoy it (of course if you don't, it has no effect on me). Do yourself a favor and pick this CD up if you are looking for a way to start listening to Stitt, or Jazz in general.

This disc is mistitled - it should have been called "Sonny Blows Up A Storm". This is 78 minutes of some of the best straight-ahead jazz I've ever heard. It rolls from one great song to the next without ever giving you a chance to catch your breath. I started listening to jazz about 6 months ago and this disc is easily my favorite. Every note is right on the money and there's none of the screeching and growling you get with Coltrane. If you like this CD I also recommend "The Champ" and "Sonny Side Up".

This hard-to-find CD, containing the tracks from TWO even harder to find vinyls, is an absolute must-have. Sonny takes all other players to school on the tenor, and in passing shows himself to be a jazzman of the first rank. This recording, along with Boss Tenors, and Sonny Side Up, shows you what Sonny Stitt can do in a variety of settings. I never could see why being in the Bird tradition was like some kind of fault. Listen to Stitt then to Parker-- well it's a very near thing. Endgame Brilliance is the CD your friends will beg to borrow. I'm thrilled I was able to grab a copy! Beautiful beautiful stuff.

Out of the hundreds of jazz CDs that I own, this is one of my favorites.

Barry Harris on piano,
Sam Jones on bass,
Roy Brooks on drums.

This album is actually a compilation of 2 of Stitts previously released records. From the cover:

Tune-Up! and Constellation are among the best records Sonny Stitt ever made, and, without question, are the two finest examples of his late period work. Aside from their inherent musical brilliance, they go a long way to show just why Stitt was so respected by his peers and revered as one of the giants of modern jazz. Both records were originally released on the now defunct Muse label. Even though Constellation was nominated for a Grammy and Tune-Up! was as critically acclaimed, both records have been relatively hard to find. Now they're both on one disk.

Tune Up! and Constellation were originally released 1972

I have listened to this CD about five times and Stitt never hesitates for a note, he never "squawks," and he is totally in-sync with the other musicians. I would say from a technical standpoint he's neck-in-neck with Charlie Parker. However, Stitt's playing is seriously plagued with one problem: it is extremely dead-pan and mechanical. There is none of the sorrow, joy or tension found on his earlier albums. Endgame Brilliance is sterile and for this reason disappointing. My electric piano's demo mode is just as emotionally satisfying as these two albums. That being said, I still enjoyed "Topsy", "Constellation" and "I Got Rhythm." While synthetic, they at least got my feet tapping and I enjoyed myself.

I give the album "Four Stars" not only because it is so technically perfect, but because the sound restoration is good and the price is very low. Endgame Brilliance is basically two for the price of one. Cheers to 32 Jazz on this point.

I have listened to this CD about five times and Stitt never hesitates for a note, he never "squawks," and he is totally in-sync with the other musicians. I would say from a technical standpoint he's neck-in-neck with Charlie Parker. However, Stitt's playing is seriously plagued with one problem: it is extremely dead-pan and mechanical. There is none of the sorrow, joy or tension found on his earlier albums. Endgame Brilliance is sterile and for this reason disappointing. My electric piano's demo mode is just as emotionally satisfying as these two albums. That being said, I still enjoyed "Topsy", "Constellation" and "I Got Rhythm." While synthetic, they at least got my feet tapping and I enjoyed myself.

I give the album "Four Stars" not only because it is so technically perfect, but because the sound restoration is good and the price is very low. Endgame Brilliance is basically two for the price of one. Cheers to 32 Jazz on this point.