Customer Reviews

Sonny Stitt Sits in With the Oscar Peterson Trio

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"If there had never been a Bird, there would have been a Sonny Stitt." ~ Kenny Clarke, Drummer ~

In this outstanding recording, the living legend of jazz piano, Oscar Peterson, takes a back seat, shies away from the limelight and gives the remarkably brilliant saxophonist, Sonny Stitt the center of attention as they offer the listeners an unforgettable musical journey to the world of great jazz with the support of a talented crew of seasoned jazzers such as Ray Brown (bass), Ed Thigpen and Stan Levey (drums) and Herb Ellis (guitar).

The original album, produced by a well-respected name in record production, Norman Granz, only includes the first eight tracks, which were recorded in Paris on May of 1959 while the CD format has three additional tracks - these are the last three, which were recorded in Los Angeles on October of 1957 and all previously unissued. Moreover, it also boasts an original composition by Sonny Stitt, "Blues for Pres, Sweets, Ben & all The Other Funky Ones."

On Liner Notes written by James Isaacs in 1991: "For Sonny Stitt, any place he played his horns was home." True enough, Sonny Stitt (1924-1982) was completely at-ease doing his craft excellently, thus, making him one of the best and most prolific alto and tenor saxophonists not only in his time but of all-time. What I love most from his recordings is "Sweet And Lovely" - this is one of the best jazz tunes ever recorded!

The best tracks here include a time-tested standard, "I Can't Give You Anything But Love,' which showcases Sonny Stitt's mastery and flair in sax playing. "The Gypsy" beguiled my ears with its instrumentation particularly Mr. Stitt's powerful and sweepingly beautiful sound of his saxophone. And not to mention two of the most charming tunes from this CD, "I Remember You" and "I'll Remember April."

This CD goes beyond the ordinary listening experience so just immerse yourself in the pulsating sounds of jazz and enjoy! I wholeheartedly recommend it not only for Stitt and Peterson fans but for jazz aficionados as well.

This is a masterpiece in the entire jazz history. I own an old copy and would reccomend this album to anyone who loves jazz. even to people who do not dig too much into this music.
My question is,: "When will the Verve people release a new version on CD? ' I really hope that one of the Verve producers will answer my question simply, by just putting this mastepiece on he market again. I know at least fifty people who would buy this Cd right away, if it were availeable.

Sonny Stitt is remembered as a successor to Charlie Parker, and he frequently played tunes from Bird's repertoire (including three on this album). But his style was his own, not a copy of his famous predecessor. This collection amply demonstrates Stitt's creativity on both alto and tenor. He was best know for his alto playing when this session was recorded in 1959, but his outstanding tenor work here is an early clue as to why I thought of him as a tenor artist when I first encountered his recordings in the 1970s.
Stitt is accompanied by Oscar Peterson's famous trio that included Ray Brown on bass and Ed Thigpen on drums. Despite being a headline act on their own, the trio lays back and leaves the spotlight to Stitt. Whether he's playing blues, ballads, or bop, he doesn't disappoint.
Important note about different editions of this CD: At this writing, the CD is available through several alternate sellers, but not from Amazon directly. The one that I got, which shows a 2007 copyright, does not include the three bonus tracks listed in the product description. If this makes a difference to you, contact the seller before ordering.

The virtuoso, indeed the "most perfect" alto and tenor saxophonist of them all, in the company of his pianist equivalent. This isn't the first reissue (give the Japanese credit for recognizing it for what it was), but it's the first that some might consider "affordable." Released two months ago, it appears on other sites but may be difficult to obtain, since I see that Amazon isn't presently offering it (copyright problems?).

It's practically criminal that this superlative session, originally recorded by Verve in 1959, hasn't come out as a domestic reissue, but at least this Canadian import, provided you can locate it, is available at a more reasonable price than some previous Japanese editions. The original liner notes, describing the joint musicmaking of Stitt and Peterson as "four of the fastest hands that jazz has known," does an injustice to a musical summit meeting that features a relatively conservative Peterson piano and a tradition-minded Stitt, honoring Charlie Parker on the program's first half, then moving from alto to a Prez-influenced tenor for the second half. The tempos are moderate to slow, allowing ample room for Stitt's full-bodied, richly expressive tone, as is evident on the very first track, a medium-up "I Can't Give You Anything But Love," on which Stitt's alto sound is alternately articulate and legato, lush and light. "Blues for Pres, Sweets, Ben and All the Other Funky Ones" finds Stitt on tenor for a slow-tempoed, heartfelt yet thoughtful musical love letter from one inimitable voice to some others no less personal and identifiable. Be careful not to fall into the trap of writing this album off as "another Stitt blowing session": it easily belongs in the top ten of all 500 Stitt recordings. The reissue includes three new tunes from a 1957 Stitt-Peterson date with the addition of Herb Ellis' guitar.

Like Joel Dorn says, Mr. Stitt was incomparable when in top form. A Chuck Berry of bop, Mr. Stitt would tour without a fixed rhythm section and instead use hired axes. Well here's eleven cuts of top form playing spurred on by the OSCAR PETERSON TRIO, for chrissakes! The hours of aimless groove inflicted by modern power jazz-rock trios (coughing in your direction, MM&W) melt away in the face of Peterson's supremely funky and masterful might. This group's cut of Au Privave is one for all of time. The tone... the tone...

This is one of the best jazz albums ever recorded. Sonny Stitt was second to none in the bop idiom. He was a God in terms of technique but he was also incredibly lyrical, warm, and tender in his approch to ballads and standard tunes. What I have to say about the oscar Peterson trio? It's simply the best rythmn section that a soloist could desire. The trio swings like no other trio, it's a hired gun! Can you imagine the results achieved by the best soloist (who was equal and sometimes better to the BIRD himself) with the best supportive trio? My God!
Really there's more talent, more technique, more musicianship, more humanity, more emotions, more art in this compact disc than in a ton of records from other genres...I will never forget how bad they were...buy this record, and you will never forget them too....

SONNY STITT SITS IN WITH THE OSCAR PETERSON TRIO contains eleven composition. The album is really a vehicle for Mr.Stitt, as his instrument is closest to the microphone, and because the other instruments have only token periods of about one minute for playing their solos. The first piece, I CAN'T GIVE YOU ANYTHING BUT LOVE, starts out as a ballad, but after a minute turns into a fast be-bop piece, complete with saxophone pyrotechnics. At 2 minutes and 20 seconds, there is a one minute piano solo, which is followed by a shorter bass solo.

AU PRIVAVE has the most distinctive tune on the album, which is not surprising, as it was composed by Charles Parker. AU PRIVAVE is also featured on Mr.Stitt's album, STITT PLAYS BIRD (1966) on the Atlantic label.

THE GYPSY is a slow ballad, where Mr.Stitt plays the tune with many whole notes. But from time to time, Mr.Stitt steps up the tempo and inserts little flurries of 16th notes.

I'LL REMEMBER APRIL comes next, and the liner notes characterize Mr.Stitt's rendition as, "atypically cantering."

SCRAPPLE FROM THE APPLE also has a very distinctive tune, which is understandable, as it was composed by Charles Parker. Mr.Stitt also recorded this tune on his album, STITT PLAYS BIRD (1966).

I KNOW THAT YOU KNOW, the last piece on this album, is distinguished in that the bass line is extremely fast, and because Mr.Stitt plays in a rapid fluttering style. This rapid fluttering tends to be continuous (not broken into chunks). This piece is also distinguished in that the final 30 seconds takes the form of a jaunty march.

I saw Sonny Stitt perform at Keystone Korner in San Francisco, CA, and after that, again at a small street-corner tavern in Milwaukee, Wisconsin in early 1981. During that era, I saw Max Roach perform on three occasions (Keystone Korner in San Francisco, University of Wisconsin, and in Emeryville, CA), and I also saw Sam Rivers perform with Dave Holland (Keystone Korner). Moreover, in late 1980, I saw Art Blakey with Winton Marsalis perform in Madison, WI.

The disc is as great as everyone says, but the current Verve edition of this ("Originals B0012182") does not contain the last three cuts indicated--it only has the 8 cuts on the original album.

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Sonny Stitt may be the finest least-known jazzman--except to aficionados who recognize him as one of the greatest instrumentalists of all time.
Certainly if Charlie Parker had lived a little longer and not perished in such a spectacularly crapulous train-wreck, Stitt would probably be better known to the general public.
As it is, he is overshadowed by Parker's ghost.

And this ombre de Bird begins with Stitt's personal style--which in fact he had established apart from and prior to hearing Parker in 1945.

As to whether Stitt switched from alto to tenor in order to distance himself from comparison with Bird is an open question.
(On the other hand, other jazzmen enjoyed trying their hand on other axes: Lester Young played clarinet; Coltrane switched to Bechet's soprano; Ben Webster played a little piano...)

But it is fairly clear that Stitt moved from alto (cf. Art Pepper, Johnny Hodges, Benny Carter) to tenor (cf. Coleman Hawkins, Lester Young, Ben Webster, Wayne Shorter); and even baritone [!] (cf. Adrian Rollini, Gerry Mulligan, Pepper Adams); and that his alto style paralleled Parker, while his tenor style paralleled Young.

Still, Stitt was an individual consummate musician whose pyrotechnical skill, virtuosic technique, and personal optimistic ethos, set him (at least with aficionados) amongst the top 10 jazzmen of all time.
Stitt's style and ebullience are a joy to behold.

This 1959 set with the great Oscar Peterson and company showcases Stitt at his best: on the original LP, side A featured Stitt on alto, side B on tenor.
Solid timekeepers all, Stitt, Peterson, Brown, and Thigpen swing like mad on the fast tracks, and rock steadily on the slow numbers.
Total timing is same as the LP at ~:40mins. Remastered sound sharp, bright, and clear.

For a novice, this would be an excellent starter disc to discover the essence of real jazz; for a collector, this is a must-have session.

See too:
1950-1951
1951-1953
.
1945-1947
1947-1949
.
Gerry Mulligan Meets Johnny Hodges
.
3, 4, 5: The Verve Small Group Sessions
Cosmopolite: The Oscar Peterson Verve Sessions
.
1951-1952
Lester Young with Oscar Peterson Trio
Pres and Teddy
.

This outstanding album, long available only in a very expensive Japanese edition, is now in print again in Universal Gitanes's "Jazz in Paris" series (984-635-8). Only drawback: The three bonus tracks, recorded at a different session in 1957 and issued with the original by Verve on cd in 1991 and in Japan in 2003, are not on this version, which reissues only the eight tracks from the original album recorded in Paris. But what an album! Stitt was in top form, and O.P. was the man to match him. Some great music