Thursday 19 February 2015

BLACK SOCIAL HISTORY : AFRICAN AMERICAN " SONNY STITT " WAS AN AMERICAN JAZZ SAXOPHONIST OF THE BEBOP/HARD BOP IDIOM: GOES INTO THE " HALL OF BLACK GENIUS "

                BLACK    SOCIAL    HISTORY                                                                                                                                                                                                            




























































Sonny Stitt


Sonny Stitt
Sonny Stitt.jpg
Sonny Stitt in New York City on July 6, 1976
Background information
Birth nameEdward Boatner, Jr.
Also known asSonny Stitt
BornFebruary 2, 1924
Boston, Massachusetts, USA
DiedJuly 22, 1982 (aged 58)
Washington, D.C., USA
GenresJazz, bebop, hard bop
Occupation(s)Saxophonist
InstrumentsTenor saxophone, alto saxophone, baritone saxophone
Associated actsBilly Eckstine, Gene Ammons,Eddie Davis, Charlie Parker,Miles Davis
Edward "Sonny" Stitt (born Edward Boatner, Jr.; February 2, 1924 – July 22, 1982) was an American jazz saxophonist of thebebop/hard bop idiom. He was one of the best-documented saxophonists of his generation, recording over 100 albums. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern, in reference to his relentless touring and devotion to jazz.

Early life

Edward Boatner, Jr. was born in Boston, Massachusetts,[1] and grew up in Saginaw, Michigan. 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.[1] Boatner was soon adopted by another family, the Stitts, who gave him his new surname. He later began calling himself "Sonny". While in high school in Saginaw, Stitt played in the Len Francke Band, a local popular swing band.
In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an extraordinary similarity that was partly coincidental and not merely due to Stitt's emulation. Parker is alleged to have remarked, "Well I'll be damned, you sound just like me", to which Stitt responded "Well, I can't help the way I sound. It's only way I know how to play."Kenny Clarke remarked of Stitt's approach that, "Even if there had not been a Bird, there would have been a Sonny Stitt".
Stitt's earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also played in some swing bands, though he mainly played in bop bands. Stitt was featured in Tiny Bradshaw's big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie's band in 1945.[2]
Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene Ammons beginning in 1945 when he started to play tenor saxophone more frequently, in order to avoid being referred to as a Charlie Parker imitator. Later on, he played with Gene Ammons and Bud Powell. Stitt spent time at the Federal prison in Lexington Kentucky between 1948–49 for selling narcotics.
Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie Parker's style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor.[1] 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 jazzin 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 recordings with Davis' quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of 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 Hank Mobley. Later in the 1960s, Stitt paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar.
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 and 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 also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott's in London, 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 one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the albums What's New in 1966 and Parallel-A-Stitt in 1967.

Later life

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. He also recorded another album with Varitone, Just The Way It Was - Live At The Left Bank in 1971 which was released in 2000.
Stitt's productivity dropped in the 1970s due to alcoholism. Stitt had drank heavily since giving up heroin in the late fifties but the abuse was beginning to take its toll. A series of alcohol-induced seizures caused Stitt to abstain and kick the habit for good. Stitt said of this time: "It was pitiful, man...I was really a slave. I've come back from the dead, because that's where I was, man. I was dead."
Stitt joined the all-star group Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk, Kai Winding and bassist Al McKibbon) and made albums forAtlantic Records, Concord Records and Emarcy Records. His last recordings were made in Japan. A rejuvenated Stitt also toured with Red Holloway in the late seventies, who noted a marked improvement in his playing. In 1982, Stitt suffered a heart attack, and he died on July 22 in Washington, D.C..[2]

Discography

As leader

As sideman

With Art Blakey
With Zimbo Trio
  • Zimbo Trio invites Sonny Stitt, (1979) Clam/Continental
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