I always appreciate hearing any little thing I can in regards to these two players. I'm a Chicagoan and the love we have for those two guys here is legendary. Especially Jug. Thanks for posting.
I first caught Sonny at McKee's (63rd and Cottage Grove) and thereafter at locations throughout Chicago, or wherever Joe Segal could find a home for the Jazz Showcase. I recall Rufus being the bass player on most of these occasions. Stitt had an incredible work ethic, traveling throughout the world as "the Lone Wolf," playing wherever a club was available, occasionally in a bad mood due to inferior musicians (he gave up on organ players after Donald Patterson died) or a day and night of drying out. I recall hearing him when the house was full, but just as often when there were more guys on the bandstand (4-5) than in the audience! Sonny wasn't an innovator like Bird, but he was the more prolific and perfect player. He knew every tune in the Songbook as well as most of the jazz standards (except modal tunes--listen to him clashing with Miles on 3 European CDs made after Coltrane had moved on to his own Quartet). Sonny, I feel, is underrated and misunderstood--especially by players who say jazz improvisation should avoid the tonic note like the plague. By contrast, Sonny rarely met a tonic he didn't like. In a DB article he was asked about being a trendsetter and answered, "Look at Art Tatum. You can't play more than that! You're not supposed to play a lot of notes and weird changes. You're supposed to play music people understand." Some of my favorite Stitt is on the '50s Roost albums, where he was simply asked to show up in the studio and lay down 12 tunes, 6 on each side. Most of them were perfect first takes (the results, once thought lost, are now available on Mosaic). Sonny's solos are basically constructed by the "formulae" he had worked out long before the event. He was a player who liked closure, each phrase perfectly "tucked in" before the next one would be ready. But the pleasure was in hearing how he arranged his formulaic ideas. His articulations were crisp, and his tone was clear, lucid, "embodied" and full--so much so on both horns that it could be hard to tell whether he was playing alto or tenor without watching. Sonny Stitt should be required listening for every beginning saxophonist. Anyone who can emulate his technique, tone and work ethic has the potential to become a genuine innovator. There's no innovation without a solid foundation to start from.
I cannot begin to tell you how much I loved the music these men could play. My all time,hands down favorite, however, was Sonny Stitt. He was so unfairly compared to Charlie Parker and yet, if one were to listen carefully, the two were very different. Was Parker an influence? For sure but Sonny Stitt's warmth on blues and ballads made the difference for me. Thanks Rufus Reid for this video. Sonny autographed a napkin during a performance at the Modern Jazz Room. That's as close as I got.
Ammons often played an expreme expressive style with distinct vibrato and single note punches. It is a lot more difficult that seems to sweep through the range of the horn. Not even 16ths, but super imposing rhythm. He would slip in very difficult be bop lines. I think ammons could do anything technically, but he created a solo approach that builds. His chord subtution arpeggios were unique. I think he is the most sophisticated soloist on any instument ever. It sounds natural , it is intentional, there is a structure, ammons was very very ahead of everybody on the planet. Stitt had large bag of difficult bebop lines. I dont like how he resolved to the tonic on almost every other phrase.
I always appreciate hearing any little thing I can in regards to these two players. I'm a Chicagoan and the love we have for those two guys here is legendary. Especially Jug. Thanks for posting.
Willie Jordan l saw them both. I'm a Chicagoan. Mr. Stitt sent us a drink. So nice
Rufus Reid is so gracious and positive and a pleasure to listen to regarding these 2 giants of jazz.
Love hearing about Sonny Stitt. Got a chance to hear him in Pittsburgh. What a night! Thanks for the great interview.
I first caught Sonny at McKee's (63rd and Cottage Grove) and thereafter at locations throughout Chicago, or wherever Joe Segal could find a home for the Jazz Showcase. I recall Rufus being the bass player on most of these occasions. Stitt had an incredible work ethic, traveling throughout the world as "the Lone Wolf," playing wherever a club was available, occasionally in a bad mood due to inferior musicians (he gave up on organ players after Donald Patterson died) or a day and night of drying out. I recall hearing him when the house was full, but just as often when there were more guys on the bandstand (4-5) than in the audience!
Sonny wasn't an innovator like Bird, but he was the more prolific and perfect player. He knew every tune in the Songbook as well as most of the jazz standards (except modal tunes--listen to him clashing with Miles on 3 European CDs made after Coltrane had moved on to his own Quartet). Sonny, I feel, is underrated and misunderstood--especially by players who say jazz improvisation should avoid the tonic note like the plague. By contrast, Sonny rarely met a tonic he didn't like. In a DB article he was asked about being a trendsetter and answered, "Look at Art Tatum. You can't play more than that! You're not supposed to play a lot of notes and weird changes. You're supposed to play music people understand."
Some of my favorite Stitt is on the '50s Roost albums, where he was simply asked to show up in the studio and lay down 12 tunes, 6 on each side. Most of them were perfect first takes (the results, once thought lost, are now available on Mosaic). Sonny's solos are basically constructed by the "formulae" he had worked out long before the event. He was a player who liked closure, each phrase perfectly "tucked in" before the next one would be ready. But the pleasure was in hearing how he arranged his formulaic ideas. His articulations were crisp, and his tone was clear, lucid, "embodied" and full--so much so on both horns that it could be hard to tell whether he was playing alto or tenor without watching.
Sonny Stitt should be required listening for every beginning saxophonist. Anyone who can emulate his technique, tone and work ethic has the potential to become a genuine innovator. There's no innovation without a solid foundation to start from.
Thanks for your knowledgeable and sympathetic comment!
I cannot begin to tell you how much I loved the music these men could play. My all time,hands down favorite, however, was Sonny Stitt. He was so unfairly compared to Charlie Parker and yet, if one were to listen carefully, the two were very different. Was
Parker an influence? For sure but Sonny Stitt's warmth on blues and ballads made the difference for me. Thanks Rufus Reid for this video. Sonny autographed a napkin during a performance at the Modern Jazz Room. That's as close as I got.
These two men left a lot of beautiful music 🎶 behind.
Everytime is a pleasure comming back to your channel! I learn something everytime! Thank you! I'm grateful for you jazzvideoguy!
Rufus, good to hear somethin' about these two giants. I think you also could tell us something about the great innovator Eddie Harris ...
Thanks !
Ammons often played an expreme expressive style with distinct vibrato and single note punches. It is a lot more difficult that seems to sweep through the range of the horn. Not even 16ths, but super imposing rhythm. He would slip in very difficult be bop lines. I think ammons could do anything technically, but he created a solo approach that builds. His chord subtution arpeggios were unique. I think he is the most sophisticated soloist on any instument ever.
It sounds natural , it is intentional, there is a structure, ammons was very very ahead of everybody on the planet.
Stitt had large bag of difficult bebop lines. I dont like how he resolved to the tonic on almost every other phrase.