Sonny Stitt
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Edward "Sonny" Stitt (February 2, 1924 – July 22, 1982) was an American jazz saxophonist. He was a quintessential saxophonist of the bebop idiom and was also one of the most prolific saxophonists of his generation, recording over 100 records in his lifetime. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern in tribute to his relentless touring and his devotion to jazz.
[edit] Life and works
Stitt was born in Boston, Massachusetts, and grew up in Saginaw, Michigan. Stitt had a musical background; his father taught music, his brother was a classically trained pianist, and his mother was a piano teacher. In 1943 Stitt first met Charlie Parker, and as he often later recalled, the two men found that their playing resembled the others style. Stitt's earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also experienced playing in some swing bands, though he mainly played in bop bands. Stitt featured in Tiny Bradshaw's big band in the early forties.
Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1949, when he started to play tenor saxophone more frequently. Later on, he notably played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948-49 for selling narcotics.
Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was apeing jazz genius Charlie Parker's style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. When alto saxophonist Gene Quill was criticised for playing too similar to Parker once by a jazz writer he retorted: "you try imitating Charlie Parker!" Indeed, Stitt began to develop a far more distinctive sound on tenor. He played with other bop musicians Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost. 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 for Latin versions of such standards as "Autumn Leaves."
Stitt joined Miles Davis briefly in 1960, and his sole performance with the 1960 quintet is on the record Live at Stockholm (Dragon Records|Dragon]]), which featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar and at Newport in 1964 with other bebop players including J.J. Johnson.
He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by Ammons own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims & Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. Stitt would also record with Duke Ellington alumnus Paul Gonsalves during the 1960s. Around that time he also appeared regularly at Ronnie Scott's in London, a live 1964 recording with Ronnie Scott, The Night Has A Thousand Eyes, would eventually be released, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey.
In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. Stitt was one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the album Just The Way It Was - Live At The Left Bank, recorded in 1971 and released in 2000.
Stitt, joining the Giants of Jazz (which included Art Blakey, Dizzy Gillespie and Thelonious Monk) on some albums for the Mercury Records label, and recording sessions for Cobblestone and other labels. His last recordings were made in Japan. Sadly, in 1982 Stitt suffered a heart attack, and he died on July 22.
Although his playing was at first heavily inspired by Charlie Parker and Lester Young, Stitt eventually developed his own style, one which influenced John Coltrane. Stitt was especially effective with blues and with ballad pieces such as "Skylark".
[edit] Quotation
- "Stitt's throwaways are better than most musician's urgent statements. No musician has said more about the pure pleasure of jazz" - Chris Fujiwara, The Boston Phoenix commenting on Stitt's playing.
