The Sunny Side of Stitt on

At the time I first saw Sonny Stitt in person playing along side Miles Davis at New York's Village Vanguard in either 1960...or'61, I already owned a copy of Stitt's masterpiece recording, A Little Bit Of Stitt, which happens to be included in this 2 CD set of 3 album titles (plus 2 bonus tracks from a fourth album). For the pure Sonny Stitt fan/collector, this is an absolute must-have 2 CD set. Stitt is truly mind-boggling the way he cuts right to the chase on most tunes wasting no time with his circular breathing improvisational skills. One can really hear the Charlie Parker influence (but only briefly). Stitt is definitely his own man on these sides. When I caught Stitt in 1968, at a week-long club engagement in Baltimore, I expressed to him my love of that album, "A Little Bit Of Stitt" which unfortunately at the time had been stolen from my collection. Now, I feel totally rejuvenated after a very long search to have this priceless record back in my possession ( plus an even greater joyful surprise with the first-time acquisition of "Stittsville", "Sonny Side Of Stitt", "Sonny Side Up" plus the two bonus tracks from "Stitt In Orbit" ) 5 Stars + all the way.

This compilation is a great way to hear Sonny Stitt. In the quartet setting, it's Sonny's show all the way, with a sympathetic rhythm section. His playing here demonstrates the differences between Stitt and Bird- Sonny stays closer to the melody, and phrases along the bar lines. Most tunes are along the 3 minute mark, and at medium tempos. Solos are to the point,often sweet but never sacharrin. His total mastery of the alto and tenor is evident on every cut. Titles are standards, with the occasional Blues. No burning bebop tunes, and only the occasional Parker flourish. As mentioned elsewhere, Sonny probably considered these sessions merely another days work! That is a testimony to his high level of musicianship.

This is a great collection of a perhaps under-appreciated jazz saxophonist, who's usually just described as a "Charlie Parker clone" but this collection shows far more than that.

Great ! very enjoyable

i've always liked sonny. my favorite periods in general for jazz in general are the 50's and 60's....for some, a little dated. for me still great sound, great heart.

4 stars

This is certainly not revolutionary jazz, these 3 albums that Sonny did for Roost, but each is upbeat, flawless, often replayed and swinging music brought to you by the most perfect saxophonist on the planet. Sonny would be asked by Roost (a Roulette subsidiary) to produce 5-6 tunes per side with rhythm sections that were anonymous (their names no where to be found on the LP jacket).Predictably, Sonny would record the 10-12 tunes in record time, laying down perfectly constructed solos on the first take of each standard. The rhythm section has little to do except stay out of his way, though Jimmy Jones' piano touch is unmistakable and undeniably complements the proceedings (he was adored by Sarah and Nancy as an accompanist and occasionally filled in for Duke or Billy Strayhorn).I'm resisting the temptation to replace every one of my worn-out LPs (a little surface noise never hurt anyone), but Fresh Sound is making it very difficult to toe the line (but notice that it's become increasingly difficult to obtain a decent CD player to play CDs).Try "Don't Worry About Me" from "Sonny Side Up." No one has ever said more, musical speaking, in less than 3 minutes than Sonny does on this tune (customarily, he doesn't even permit a piano solo). No composer could deliberatively write a better solo than the one Sonny extemporaneously invents.The great irony is that Sonny saw these sessions as nothing more than another day's work in the life of jazz' lone wolf's attempt to make a living. It was all part of the job, and we all have a right to take pride in his accomplishing what no other musician in the world could do. These are merely 3 albums among many--upwards of 150--under Sonny's name. Apparently, he had forgotten about them, when I once had the opportunity to question him about the dates. At least the music has remained in safekeeping with me for almost 50 years.

本作はソニー・スティットが1950年代後半から60年代にかけて、Roostレーベルに録音した4枚分のレコードが2枚のCDにまとめられたお買い得版。スタンダード曲を中心にワンホーン・カルテットでの演奏で、ピアノは全てジミー・ジョーンズが弾いている。ソニー・スティットでRoostと言えば、「ペン・オブ・クインシー」が最も有名で、次いでハンク・ジョーンズと組んだワンホーンの「ソニー・スティット・プレイズ」と「ウィズ・ザ・ニューヨーカーズ」が思い出される。ソニー・スティットの魅力は流れるようなアドリブに、よく歌うフレーズであった。それゆえにチャーリー・パーカーのそっくりさんと言われたこともあるが、天才パーカーよりも、もっと人間味のある演奏に魅力があると思う。本作ではスティット情熱的な演奏と、ツボを押さえた控えめなジミー・ジョーンズのピアノの対比が素晴らしい。演奏時間は長く無いが、短い中で歌うスティットとジミーの技術は見事なものだ。ドラマーはロイ・ヘインズとチャーリー・パーシップ、ベーシストはアーロン・ベルがクレジットされている。一部でベーシストが不明だが、演奏の系統から言えばジョー・ベンジャミンやジョン・シモンズ、トミー・ポッターかウェンデル・マーシャルあたりではないかと思う。録音日まで分かっていて、ミュージシャン名が不明なのは解せないが、この辺りはプロデューサーのテディ・レイグの考え方によるものなのかも知れない。スティットは本作の4枚分のレコードを録音する前に、同じくジミー・ジョーンズと「ザ・サキソフォンズ・オブ・ソニー・スティット」と「ア・リトル・ビット・オブ・スティット」を録音している。よほどお気に入りのピアニストだったのだろう。ちなみに、1961年から1962年にかけては再びハンク・ジョーンズと組んで「スティット・イン・オービット」をRoostへ録音している。2曲は本CDのボーナストラックになっているジミーとの2曲が入っているが、オリジナル曲ばかりの楽しい演奏である。