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[2] He later began calling himself "Sonny". His last recordings were made in Japan. Stitts Improvisationen waren jedoch melodischer; während der Hinwendung zum Tenorsaxophon berief Stitt sich auf sein Vorbild Lester Young. Stitt ventured into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. [12], 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. While in high school in Saginaw, he played in the Len Francke Band, a local popular swing band. Sonny Stitt Plays Arrangements from the Pen of Quincy Jones, 37 Minutes and 48 Seconds with Sonny Stitt, Sonny Stitt Plays Jimmy Giuffre Arrangements, Sonny Stitt Sits in with the Oscar Peterson Trio, My Buddy: Sonny Stitt Plays for Gene Ammons, Sonny Stitt with Strings: A Tribute to Duke Ellington, The Oscar Peterson Trio with Sonny Stitt, Roy Eldridge and Jo Jones at Newport, https://en.wikipedia.org/w/index.php?title=My_Mother%27s_Eyes_(Sonny_Stitt_album)&oldid=961942653, Short description is different from Wikidata, Album articles lacking alt text for covers, Creative Commons Attribution-ShareAlike License, This page was last edited on 11 June 2020, at 06:54. Edward Hammond Boatner Jr. (February 2, 1924 – July 22, 1982), known professionally as Sonny Stitt, was an American jazz saxophonist of the bebop/hard bop idiom. [5], Anfänglich nahm Stitt Unterricht bei „Big Nick“ Nicholas, einem ortsansässigen Saxophonisten, und bei Wardell Gray, der oft bei ihnen logierte, weil es in der Gegend wenige afroamerikanische Hotels gab. [5] [3] Als technisch versierter Saxophonspieler beeinflusste er viele Kollegen, darunter John Coltrane, Booker Ervin, James Moody, Hank Mobley oder Ronnie Scott. [1], In 1981, Stitt had performed with George Duvivier and Jimmy Cobb, Six weeks before his death, Stitt had recorded two last consecutive sessions which were with George Duvivier, Jimmy Cobb, Bill Hardman and either with Junior Mance or Walter Davis Jr. on piano. It's the only way I know how to play. [16], Sonny Stitt Playing Arrangements from the Pen of Johnny Richards, Sonny Stitt Plays Arrangements from the Pen of Quincy Jones, 37 Minutes and 48 Seconds with Sonny Stitt, Sonny Stitt Plays Jimmy Giuffre Arrangements, Sonny Stitt Sits in with the Oscar Peterson Trio, My Buddy: Sonny Stitt Plays for Gene Ammons, Sonny Stitt with Strings: A Tribute to Duke Ellington, The Oscar Peterson Trio with Sonny Stitt, Roy Eldridge and Jo Jones at Newport, "Boss tenors, 'ReOcurring Dreams,' Regina salutes Ella", "Horace Parlan, jazz pianist who overcame disability, dies at 86", "Chick Corea's Detroit connections will shine at Detroit Jazz Festival", "Miles Davis and Sonny Stitt: Jazz Time: Olympia", "Sonny Stitt: Just The Way It Was - "Live" At The Left Bank", "Bob Perkins' Jazz Library: The Story of Sonny Stitt", "Here Are Hundreds More Artists Whose Tapes Were Destroyed in the UMG Fire", BBC - Radio 3 Jazz Profiles - Sonny Stitt, https://en.wikipedia.org/w/index.php?title=Sonny_Stitt&oldid=974818506, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, 1965: "The Double-O-Soul of Sonny Stitt, Part 1"/"The Double-O-Soul of Sonny Stitt, Part 2" (Wingate) (Single), 1965: "Concerto For Jazz Lovers"/"Just Dust" (Wingate) (Single), 1965: "Stitt's Groove"/"Marr's Groove" (Wingate) (Single) with, This page was last edited on 25 August 2020, at 05:49. Edward Hammond Boatner, Jr. was born in Boston, Massachusetts[1] and grew up in Saginaw, Michigan. A rejuvenated Stitt also toured with Red Holloway in the late 1970s, who noted a marked improvement in his playing. Noch bevor er die High School abgeschlossen hatte, tourte er in Bands mit Nicholas und dem Trompeter Thad Jones.[5]. Known for his warm tone, he was one of the best-documented saxophonists of his generation, recording more than 100 albums. Seine Alben Tune up! Zurück in New York wechselte er aufs Tenor- und Baritonsaxophon. Stitt, der 1942 die Begegnung mit Parker in Kansas suchte, schilderte, dass Parker ihm nach einer gemeinsamen Jam-Session vorwarf: „you sound too much like me“[7]. [2] Er hat diesen Klang nach eigenen Angaben lange vor der Begegnung mit Parker gefunden. In 1971 he managed to record four albums; Turn It On! https://en.wikipedia.org/wiki/My_Mother's_Eyes_(Sonny_Stitt_album) [5], Stitt was a leader of Bebop Boys and Galaxy in 1946 and 1948 respectively. As he often recalled, the two men had similar styles. 1942 trat Stitt mit dem Pianisten William „Sabby“ Lewis in Boston auf, bevor er sich den Bama State Collegians anschloss. n. Martin Kunzler, Stitts Vater Edward war Musikprofessor (Lehrer) und hatte Anstellungen am Wiley College und der Sam Houston State University. Dann schloss er sich einem Sextett mit J.J. Johnson und Clark Terry für eine Japantour an. 1966 tourte Stitt öfter durch Europa, spielte auf Festivals und bekannten Clubs wie dem Gyllene Cirkeln in Stockholm. with Leon Spencer, Melvin Sparks, Idris Muhammad, and Virgil Jones, You Talk That Talk! Im Sommer 1947 spielte er in Detroit mit Parker, Davis und Gillespie;[5] ferner nahm er für Sensation Records auf. [3], Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the tour of 1960. [11], Stitt recorded several times with his friend Gene Ammons, interrupted by Ammons' own imprisonment for narcotics possession. "[3] Kenny Clarke said of Stitt, "Even if there had not been a Bird, there would have been a Sonny Stitt. [6], Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Parker's style, and he began to develop a far more distinctive sound on tenor. 1949 hatte er sein Aufnahmedebüt als Leader auf dem Album All God’s Chillun Got Rhythm mit Bud Powell und J. J. Johnson. Seine Mutter war Musiklehrerin und spielte Klavier und Orgel. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern because of his relentless touring and devotion to jazz. In 1955, he played under Quincy Jones' guidance, playing uptempos and ballads such as "My Funny Valentine" and "Star Dust" and the same year performed "Afterwards" and "There Will Never Be Another You" with Hank Jones. [12] Just The Way It Was - Live At The Left Bank which was released in 2000 also featured Stitt as an electric saxophone player, which was the first album which encompassed it. Im Dezember 1949 trat er mit Davis, Powell, Benny Green, Serge Chaloff, Curley Russell und Max Roach in der Carnegie Hall auf.[5]. In den 1950er Jahren war er Leader ständig wechselnder kleiner Gruppen und knüpfte 1954 mit Eddie Lockjaw Davis (Battle of Birdland), später auch mit Sonny Rollins, Illinois Jacquet, Paul Gonsalves, Stan Getz oder Dexter Gordon an die Two Tenors-Serie an und präsentierte zahlreiche eigene Alben. [1] He played with other bop musicians including Horace Parlan,[7] 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 as well as albums for Argo, Verve, and Roost. Sonnys Bruder Clifford war klassischer Pianist und seine Schwester Adelaide war Sängerin, die in, Nach Martin Kunzler hatte er „zwar einen ähnlich herausschwingenden Sound und gebot über eine vergleichbare Technik, phrasierte jedoch rhythmisch direkter, gleichmäßiger fließend und im Aufbau symmetrischer als der Bop-Innovator, d.h. ohne dessen geniale Diskontinuitäten und Vielschichtigkeiten.“, Vorlage:Webachiv/IABot/www.allaboutjazz.com, Encyclopedia of Jazz Musicians (jazz.com), https://de.wikipedia.org/w/index.php?title=Sonny_Stitt&oldid=192166983, Wikipedia:Defekte Weblinks/Ungeprüfte Archivlinks 2019-05, „Creative Commons Attribution/Share Alike“, Miles Davis: In Stockholm 1960, Dragon (mit. Stitt Plays Bird von Sonny Stitt als LP, mit Tracklist und weiteren Infos. Als Höhepunkt dieser Zeit gilt die Aufnahme In Stockholm 1960. in 1966 and Parallel-a-Stitt in 1967. So konnte er dem Image des vermeintlichen Parker-Imitators[9] entgehen[3]. 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 dueling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. und Constellation von 1972 wurden Erfolge. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with Hank Mobley. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. genre: Jazz; released in 1958 (58 years ago) Printed encyclopedias and other books with definitions for Sonny Stitt. Stitt was one of the first jazz musicians to experiment with the Selmer Varitone amplification system as heard on the albums What's New!!! Februar 1924 in Boston; † 22. with Gene Ammons and George Freeman as new members of the group, Just The Way It Was - Live At The Left Bank with Don Patterson and Billy James, and Black Vibrations which featured the same group as in Turn It On!. How High the Moon Songtext von Sonny Stitt mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com 1949 bis 1952 hatte er ein eigenes Septett mit Ammons, wo ihre Battles (mit Chase Chorussen wie in Blues Up and Down 1950) berühmt wurden. In dieser Zeit verfiel er dem Heroin und seine Cabaret Card wurde (Drogenbesitz genügte dazu) eingezogen, was es ihm unmöglich machte, in New Yorks Nachtclubs aufzutreten. My Mother's Eyes is an album by saxophonist Sonny Stitt recorded in 1963 in Los Angeles and released on the Pacific Jazz label. [13], Stitt's productivity dropped in the 1970s due to alcoholism. 1947 wurde er in den Polls des Esquire Magazine zum „New Star“ auf dem Altsaxophon gewählt. Wegen Drogenhandels verurteilt, verbrachte er 1948/49 im Federal Narcotics Hospital in Lexington (Kentucky).[8]. Sein Sound auf dem Altsaxophon war dem von Charlie Parker ähnlich, wie auch Musiker wie Quincy Jones feststellten. Stitts Eltern waren beide Musiklehrer und daher wuchs er in einem musikalischen Umfeld auf. 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[8] for Latin versions of such standards as "Autumn Leaves. Edward Hammond Boatner Jr. (February 2, 1924 – July 22, 1982), known professionally as Sonny Stitt, was an American jazz saxophonist of the bebop/hard bop idiom. [4] Von 1971 bis 1972 war er Mitglied der Giants of Jazz mit Gillespie, Kai Winding, Thelonious Monk und Art Blakey, mit denen er auf den Berliner Jazztagen auftrat. [6], In 1982, Stitt was diagnosed with cancer, and he died on July 22 in Washington, D.C..[1], On June 25, 2019, The New York Times Magazine listed Sonny Stitt among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. Er ersetzte John Coltrane im Miles Davis Quintett im September 1960 und blieb bei Davis bis Anfang 1961. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! [3] Der Jazzkritiker Dan Morgenstern gab ihm den Spitznamen „einsamer Wolf“ (Lone Wolf) in Bezug auf sein unerbittliches Touren und seiner Hingabe an den Jazz. Ab 1966 spielte er auch auf einem elektrisch verstärkten Saxophon (Varitone). "[4], During the 1940s, he played alto saxophone as a member of Tiny Bradshaw's big band, Billy Eckstine's big band with Gene Ammons and Dexter Gordon, and Dizzy Gillespie's big band. [15], Stitt joined the all-star group The Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk, Kai Winding and bassist Al McKibbon) and made albums for Atlantic, Concord and EmArcy. All compositions by Sonny Stitt except where noted. Click on a title to look inside that book (if available): The Encyclopedia of Popular Music (2011) by Colin Larkin.

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