Sunday, May 19, 2013

The Complete Roost Sonny Stitt Studio Sessions


Pure, Swinging, No-Frills Modern Jazz

Sonny Stitt's rich, expressive sound on alto was vibrant. On tenor, his tone took on a warmth that betrays a Lester Young influence. His white-hot solos, rooted as much in earthy blues as sophisticated be bop, are positively jubilant and rhythmically driving. They are not just a collection of riffs; they tell a story. It's evident in his playing that he loved what he did, and he did it magnificently. The prime focus of this set is the ten remarkable quartet studio albums that the saxophonist made for Roost between 1952 and '65, usually with Hank Jones or Jimmy Jones on piano and Shadow Wilson, Charlie Persip or Roy Haynes on drums. The saxophonist and these incredible rhythm sections concentrated on a wide variety of standards and infused them with inventive treatments and inspired playing. This project has been on Mosaic's wish list for many years, but when we started research on them in 1989, most of the master tapes were nowhere to be found. Then a recent reorganization of the Roulette tape vault in London turned up all the LP masters as well as many of the original session tapes. Sonny Stitt's Roost recordings have been among his finest and rarest, long sought-after and seldom reissued and we are delighted that they are finally available.

Source : http://www.mosaicrecords.com/prodinfo.asp?number=208-MD-CD

The Complete Roost
Sonny Stitt
Studio Sessions

Tracks

cd. 1

1 Sancho Panza (Richards)  2:56
2 Sweet And Lovely (Arnheim, Daniels, Tobias)  2:57
3 If I Could Be With You (Johnson, Creamer)  2:20
4 Hooke's Tours (Richards, Stitt)  2:49
5 Loose Walk (Stitt)  2:51
6 Pink Satin (Richards, Stitt)  2:56
7 Shine On Harvest Moon (Bayes, Norworth)  2:33
8 Opus 202 (Richards, Stitt)  2:45
9 My Funny Valentine (Rodgers, Hart)  3:26
10 Lover (Rodgers, Hart)  3:24
11 Sonny's Bunny (Stitt)  3:58
12 Love Walked In (Gershwin, Gershwin)  4:03
13 If You Could See Me Now (Dameron, Sigman)  4:29
14 Quince (Stitt)  6:59
15 Come Rain Or Come Shine (Arlen, Mercer)  4:19
16 Star Dust (Carmichael, Parish)  3:08
17 Quince [alt. tk] (Stitt)  6:47
18 Come Rain Or Come Shine [alt. tk] (Arlen, Mercer)  4:19
19 Star Dust [alt. tk] (Carmichael, Parish)   3:17

*

Cd. 2

1 They Say It's Wonderful (Berlin)  2:09
2 Why Do I Love You (Kern, Hammerstein)  2:45
3 Symphony Hall Swing (Stitt)  2:27
4 Sonny's Bunny (Stitt)  2:58
5 They Say It's Wonderful [alt. tk] (Berlin)  2:25
6 Why Do I Love You [alt. tk] (Kern, Hammerstein)  2:45
7 Symphony Hall Swing [alt. tk] (Stitt)  2:15
8 Sonny's Bunny [alt. tk] (Stitt)  2:58
9 There Will Never Be Another You (Warren, Gordon)  4:33
10 Yesterdays (Kern, Harbach)  4:56
11 The Nearness Of You (Carmichael, Washington)  5:08
12 Biscuit Mix (Stitt)  3:14
13 Afterwards (Stitt)  3:14
14 If I Should Lose You (Rainger, Robin)  4:15
15 Blues For Bobby (Stitt)  4:48
16 My Melancholy Baby (Burnett, Norton)  5:36
17 The Nearness Of You [alt. tk] (Carmichael, Washington)  5:22
18 If I Should Lose You [alt. tk] (Rainger, Robin)   4:29

*

Cd. 3

1 What Is This Thing Called Love (Porter)  4:17
2 Sweet Georgia Brown (Casey, Bernie, Pinlard)  3:42
3 Blues For Yard (Stitt)  3:44
4 Harlem Nocturne (Hagen)  3:49
5 Blue Moon (Rodgers, Hart)  4:14
6 Because Of You (Hammerstein, Wilkinson)  4:58
7 Windy Ride (Stitt)  5:18
8 But Not For Me (Gershwin, Gershwin)  4:15
9 Scrapple From The Apple (Parker)  4:20
10 Sweet Georgia Brown [alt. tk] (Casey, Bernie, Pinlard)  3:33
11 Blues For Yard [alt. tk 1] (Stitt)  3:09
12 Blues For Yard [alt. tk 2] (Stitt)  4:20
13 Harlem Nocturne [alt. tk] (Hagen)   4:07

*

Cd. 4

1 Cherokee (Noble)  4:08
2 Engos, The Bloos (Stitt)  3:40
3 Body And Soul (Green, Heyman, Sour, Eyton)  3:51
4 I Didn't Know What Time It Was (Rodgers, Hart)  4:31
5 The Best Things In Life Are Free (DeSylva, Brown, Henderson)  4:59
6 People Will Say We're In Love (Rodgers, Hammerstein)  5:00
7 Bloosey (Stitt)  3:47
8 Bird's Eye (Stitt)  4:17
9 It Might As Well Be Spring (Rodgers, Hammerstein)  4:57
10 Engos, The Bloos [alt. tk] (Stitt)  3:34
11 People Will Say We're In Love [alt. tk](Rodgers, Hammerstein)  7:51
12 It Might As Well Be Spring [alt. tk] (Rodgers, Hammerstein)  6:25

*

Cd. 5

1 Happy Faces (Stitt)  3:40
2 Am I Blue (Akst-, Clarke)  2:57
3 I'll Be Seeing You (Kahn, Fain)  2:05
4 When You're Smiling (Fischer, Goodwin, Shay)  3:34
5 In A Little Spanish Town (Lewis, Young, Wayne)  4:00
6 Them There Eyes (Tracey, Tauber, Pinkard)  3:42
7 Back In Your Own Back Yard (Rose, Dreyer, Jolson)  3:26
8 Foot Tapper (Stitt)  3:05
9 Sometimes I Feel Like A Motherless Child (traditional)  2:44
10 Shadow Waltz (Warren, Dubin)  2:08
11 Wind-up (Stitt)  3:35
12 Star Eyes (Raye, DePaul)  3:39
13 Laura (Raksin, Mercer)  3:18
14 J. B. Blues (Stitt)  3:56
15 On A Slow Boat To China (Loesser)  3:21
16 Cocktails For Two (Johnston, Coslow)  3:38
17 I'm Confessin' (That I Love You) (Dougherty, Reynolds, Neiberg)  3:19
18 When The Red, Red Robin (Comes Bob, Bob, Bobbin' Along) (Woods)  2:48
19 Don't Take Your Love From Me (Nemo)  2:55
20 After The Late, Late Show (Stitt)  3:56
21 For All We Know (Lewis, Coots)  3:06
22 Laura [alt. tk] (Raksin, Mercer)  4:18
23 I'm Confessin' (That I Love You) [alt. tk] (Dougherty, Reynolds, Neiberg)   3:17

*

Cd. 6

1 Day By Day (Kahn, Stordahl, Weston)  3:29
2 Don't Worry 'Bout Me (Bloom, Koehler)  2:50
3 Red Top (Kynard, Hampton)  3:50
4 I Never Knew (Carroll)  4:26
5 Skylark (Carmichael, Mercer)  2:46
6 I'll Remember April (Raye, DePaul, Johnson)  3:42
7 Moonray (Shaw, Madison, Quinser)  2:57
8 Old Fashioned Blues (Stitt)   4:42
9 Hitsburg (Stitt)  4:22
10 Angel Eyes (Dennis, Brent)  3:08
11 It All Depends On You (DeSylva, Brown, Henderson)  2:47
12 Stormy Thursday (Stitt)  3:22
13 Embraceable You (Gershwin, Gershwin)  2:35
14 It Could Happen To You (Burke, Van Heusen)  3:23
15 But Not For Me (Gershwin, Gershwin)  3:07
16 Memories Of You (Blake, Razaf)  5:09
17 I Cried For You (Arnheim, Lyman, Freed)  3:15
18 Bright As Snow (Stitt)  2:44
19 Spinning (Stitt)   2:26

*

Cd. 7

1 On Green Dolphin Street (Kaper, Washington)  3:53
2 My Blue Heaven (Donaldson, Whiting)  2:37
3 My Mother's Eyes (Baer, Gilbert)  3:44
4 Sunny Side Up (Stitt)  2:31
5 The More I See You (Warren, Gordon)  3:38
6 Beware Rocks Comin' Down (Stitt)  6:52
7 Don't Take Your Love From Me (Nemo)  4:41
8 When I Grow Too Old To Dream (Romberg, Hammerstein)  3:00
9 I've Got The World On A String (Arlen, Koehler)  5:07
10 Bye Bye Blues (Lown, Gray, Bennett, Hamm)  5:00
11 Six-O-Seven Blues (Stitt)  6:07
12 My Blue Heaven [alt. tk] (Donaldson, Whiting)  3:31
13 No Cal (Stitt)  2:37
14 Corn Flakes (Stitt)  3:26
15 Eye Ball (Stitt)  4:59
16 Saginaw (Stitt)  5:15
17 Fine And Frisky (Stitt)   4:50

*

Cd. 8

1 S'posin' (Denniker, Razaf)  6:17
2 Goodnight Ladies (tad. arr. by Sonny Stitt)  3:49
3 Stretch Pants (Stitt)  5:07
4 If I Should Lose You (Rainger, Robin)  5:17
5 Nightmare (Stitt)  2:15
6 Hollerin' The Blues (Stitt)  4:47
7 O Solo Mio (trad. arr. by Sonny Stitt)  3:42
8 Look Up (Stitt)  3:09
9 Feelin's (Stitt)  3:53
10 Senor Jones (Stitt)  5:11
11 Amigos (Stitt)  4:36
12 I Told You So (Stitt)  5:20
13 Chic (Stitt)  5:14
14 Are You Listening (Stitt)  3:30
15 Ritmo Bobo (Stitt)  6:03
16 My Little Suede Shoes (Parker)  4:04
17 Autumn Leaves (Kosma, Mercer)   5:10

*

Cd. 9

1 How Do You Do (Boatner)  6:32
2 Don't Worry (Boatner)  4:33
3 Mother Tucker (Boatner)  4:31
4 Cut It Off (Boatner)  5:00
5 For All We Know (Lewis, Coots)  2:21
6 Cut It On (oatner)   4:27
7 I Know That You Know (Youmans, Harbach, Caldwell)  3:31
8 Round Robin (Boatner)  6:28
9 How Do You Do [alt. tk] (Boatner)  4:16
10 Mother Tucker [alt. tk] (Boatner)   4:12

See also
http://www.mosaicrecords.com/discography.asp?number=208-MD-CD


Personnel
Featuring Sonny Stitt, Fletcher Peck, Thad Jones, Joe Newman, Dolo Coker, Edgar Willis, Kenny Dennis, Jimmy Cleveland, John Simmons, Jo Jones, Don Elliott, Kai Winding, Sid Cooper, George Berg, Horace Silver, Charles Mingus, Don Lamond, Ernie Royal, J.J. Johnson, Anthony Ortega, Seldon Powell, Wendell Marshall, Cecil Payne, Hank Jones, Aaron Bell, Roy Haynes, Freddie Green, Oscar Pettiford, etc.

Recorded in New York City ; between November 20, 1952 & April 14, 1965

See the Complete artwork

________
August 30, 1957
This date, which produced Sonny Stitt With The New Yorkers, sees the return of the same gents who made Sonny Stitt Plays such a winner: Hank Jones, Wendell Marshall and Shadow Wilson. It contains some magnificent alto work by the leader. Ray Noble's Cherokee, a big hit for Charlie Barnet in 1939 became the anthem of bebop, adapted to the modern mode by Parker. His Ko-Ko, recorded in 1945, was the first example of his nonpareil command of both instrument and infant musical tongue at outrageous tempo. Stitt, in this version, is nothing short of phenomenal; one example is the astonishing first 32 bars of the saxophonist's opening chorus. Jones, in short yet telling statements, shows how tempo is no obstacle for him. When Stitt re-enters on the bridge after Marshall solos, he quotes two phrases Parker played on Ko-Ko in the same spot, then goes off into his own language.
The two takes of the medium-paced Engos, The Bloos are decidedly interesting. The previously unissued alternate begins with Sonny soloing strongly on the standard blues changes. Then in the third chorus, he shifts to a more complex progression that Bird used on his Blues For Alice, chords that allow for a more melodic interpretation. Stitt then plays the Alice changes throughout the issued master. The ideas flow, and there's a deep tunefulness, as the opening statements of the third chorus reveal. Jones, delicate yet ardent, picking his notes judiciously, offers one gem, then another.
Johnny Green's Body And Soul has been firmly ensconced in the jazz repertoire ever since tenor saxophone giant Coleman Hawkins delivered his stunning interpretation–sans theme–in 1939. Stitt's version belongs among his personal best. There are so many things that deserve attention: his dead-on intonation in all ranges; his driving bop phrase, at bar 9 of the theme, which leads to a splendid five-bar exposition; the offering of a favored quote from Prisoner Of Love which a bar later includes a snippet of If You Could See Me Now at bar 9 of the solo; and his quote of Cocktails For Two, deftly altered, coming out of the bridge. Jones' prancing intro sets up the just-faster-than-medium take of I Didn't Know What Time It Was. The trio is strong behind Stitt, pushing him. Jones feeds chords so constructively. He's enjoyable to listen to simply as an accompanist, and when he solos, each of his compact ideas – he stretches a bit toward the end – is enlivened by his crisp articulation and his luminous tone, which inspired such keyboard greats as Tommy Flanagan and Kenny Barron. One review of Jones behind Stitt said he lacked the musical know-how to play with the saxophonist. Ha! Stitt has a real feel for the 32-bar killer The Best Things In Life Are Free. His version is a medium-fast delight; the zesty melody treatment leads to a like improvisation. Some of his phrases are flowing – his five-bar opener tied to another of almost three bars – is one. Others are rhythmically ardent, like that hit-the-same-note-three-times-then-a-brief-sweep-up that starts the second chorus, or the dandy one that begins on bar 24. The rhythm section is firm yet buoyant behind him; listen to Wilson drive him with his varied, dynamic cymbal attack. Hank's mix of Tatum, Teddy Wilson and Bud Powell is simply one of a kind.
Sonny and crew look at People Will Say We're In Love twice. On the previously unissued alternate, where Shadow employs his brushes with expected elan, Stitt's superlative effort begins with a partial quote of And The Angels Sing that segues into a punchy, swinging lick. It's just the precursor of many good things to come. Jones rolls his even notes out in small bunches, and in longer strands. It all works. As does everything on the master. It's a shade faster, and a piano-bass rhythmic figure underpins the theme (as it did on the alternate)–except the bridge, where it swings. Once more, Stitt gets off on the right foot: he takes a simple phrase and turns it around, both rhythmically and juxtaposing the pitches. That's jazz, folks. Then in the second chorus there are those three blazing double-times and some deft blues-tinged ideas. Beats me how they picked one take over the other, but we have them both so not to worry.
Bloosey shows again that Stitt was as come-what-may in his titles as his blues themes ; the latter were for the most part simply made up on the spot. But once the solo starts, Sonny is cooking, back on very familiar turf. He hits some morphing triadic figures to start the third chorus, stopping a dime when the idea is over. That's rhythmic acumen and instrumental control. On the fifth chorus, after the opening phrase, he descends with a classic bebop cliché: hitting a series of three pitches, the second and third higher and lower, respectively, than the first. The ideas seem to spin as they go down the horn. Jones mimics Stitt's last remark to start his own noteworthy improv.
Stitt's Bird's Eye is the same head that Parker used on his Steeplechase, recorded for Savoy in 1948. Whatever the name, it's another superior tour through Rhythm changes. To start the bridge of his solo, Sonny finds two different ways to play another classic bebop phrase : the quick rise-and-fall that Bird used to open his solo on Ko-Ko. This is arguably the most quoted idea in all bebop, and in his transfiguration, Stitt reveals his ingenuity. Jones is impressively fluid, nudged by Wilson's ride cymbal. Then the drummer trades some crisp fours with the leader; it's good to hear him let go for a moment.
Both versions of It Might As Well Be Spring start with a four-bar intro that manages to make a modified Happy Birthday fit before a quiet and pretty subsequent phrase arrives. You can almost hear the lyrics, as Sonny delivers the tender theme, which is embellished by his vibrant interjections; he's singing. He leaves the solo to Jones, who is abetted by Marshall's fat notes and Wilson's emphatic brush scrapes across the drumheads. On the slightly faster master, Jones' solo is more involved, a delightful mix of melody and imagination, and the ending is a fade, rather than the clean stop on the previously unissued alternate.

Source : http://www.mosaicrecords.com/prodinfo.asp?number=208-MD-CD

8 comments:

Melanchthon said...

Stitt on Roots
http://www.embedupload.com/?d=4QDAEYERCH
http://www.embedupload.com/?d=0YELG2IVIB
http://www.embedupload.com/?d=2NV2ZUKLWT
http://www.embedupload.com/?d=1SSFWEGFAD
http://www.embedupload.com/?d=6UEZQYMEUK
http://www.embedupload.com/?d=4ZNXRRIUSB
http://www.embedupload.com/?d=9FMXAXCHEH
http://www.embedupload.com/?d=61LZEBU5EH
http://www.embedupload.com/?d=1GNJVHNHJW
Artwork
http://www.embedupload.com/?d=0JEGD0MKWI

jose arboleda said...

Muchas Gracias.

Chris said...

Thanks Mel this one beautiful box set

Baron said...

Thanks Mel

The Jackal said...

Mel,

You legend.

jbl said...

Thanks Mel, all Sonny Stitt are worth having, but this one is simply wonderful!

madbebopper said...

Would you be kind enough to give the password for these downloads, please?

Eric said...

Sonny Stitt and Sviatoslav Richter on one web site, now if we could only find them playing together.
Thanks for so much good music.