SONNY STITT "Now" LP NM/NM Original on IMPULSE. This is the UK reissue.

Description: Sonny Stitt Biography by Ron WynnCharlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Stitt. There was almost note-for-note imitation in several early Stitt solos, and the closeness remained until Stitt began de-emphasizing the alto in favor of the tenor, on which he artfully combined the influences of Parker and Lester Young. Stitt gradually developed his own sound and style, though he was never far from Parker on any alto solo. A wonderful blues and ballad player whose approach influenced John Coltrane, Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad. He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band in 1945, playing alongside other emerging bebop stars like Gene Ammons and Dexter Gordon. Stitt later played in Dizzy Gillespie's big band and sextet. He began on tenor and baritone in 1949, and at times was in a two-tenor unit with Ammons. He recorded with Bud Powell and J.J. Johnson for Prestige in 1949, then did several albums on Prestige, Argo, and Verve in the '50s and '60s. Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s. After a brief stint with Miles Davis in 1960, he reunited with Ammons and for a while was in a three-tenor lineup with James Moody. During the '60s, Stitt also recorded for Atlantic, cutting the transcendent Stitt Plays Bird, which finally addressed the Parker question in epic fashion. He continued heading bands, though he joined the Giants of Jazz in the early '70s. This group included Gillespie, Art Blakey, Kai Winding, Thelonious Monk, and Al McKibbon. Stitt did more sessions in the '70s for Cobblestone, Muse, and others, among them another definitive date, Tune Up. He continued playing and recording in the early '80s, recording for Muse, Sonet, and Who's Who in Jazz. He suffered a heart attack and died in 1982. Sonny Stitt – Now! Sonny Stitt - Now! album cover More images Label: Jasmine Records – JAS 25 Format: Vinyl, LP, Album, Reissue Country: UK Released: Genre: Jazz Style: Bop A1Surfin' Written-By – S. Stitt* 4:09 A2Lester Leaps In Written-By – L. Young* 6:20 A3Estralita Written By – Unknown Artist 3:13 A4Please Don't Talk About Me When I'm Gone Written-By – H. Stept*, S. Clark* 4:30 B1Touchy Written-By – S. Stitt* 5:05 B2Never—Sh ! Written-By – S. Stitt* 5:04 B3My Mother's Eyes Written-By – A. Baer*, L.W. Gilbert* 4:05 B4I'm Getting Sentimental Over You Written-By – Bassman*, Washington* 4:15 Licensed From – MCA Records Manufactured By – Jasmine Records Distributed By – Jasmine Records Printed By – St. Johns Offset Printed By – Robert Stace & Co. Ltd. Published By – Chappell Music Published By – Public Domain Published By – Francis, Day & Hunter Ltd. Published By – Premier Albums Music Publishing Published By – United Artists Music Ltd. Published By – Big Three Music Ltd. Published By – Dash Music Ltd Bass – Al Lucas Design [Cover] – Robert Flynn (2) Drums – Osie Johnson Engineer – Rudy Van Gelder Photography By – Don Bronstein Piano – Hank Jones Plated By – PAG Producer – Bob Thiele Tenor Saxophone, Alto Saxophone – Sonny Stitt Recorded June 10, 1963. Inner bag says "MADE IN ENGLAND R.S. 7-84" Publishers by Track, label format: A1 - Copyright Control A2 - Chappell M. Ltd. A3 - P. D. A4 - Francis Day & Hunter Ltd. B1 - Copyright Control B2 - Premier Albums M.P. Inc. B3 - United Artists M. Ltd./Big Three M. Ltd. B4 - Dash Music Ltd. GOLDMINE GRADINGMINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.

Price: 18 USD

Location: Saginaw, Michigan

End Time: 2024-12-09T01:11:33.000Z

Shipping Cost: 7 USD