Er ging nach Chicago, wo er in Sessions mit Ammons und Miles Davis und mit Johnny Griffin im Pershing Ballroom auftrat. Er tourte 1957 bis 1959 bei „Jazz at the Philharmonic“, trat 1958 beim Newport Jazz Festival auf (dokumentiert im Duo mit Sal Salvador im Film Jazz on a Summer’s Day) und kehrte Ende des Jahrzehnts in die Dizzy Gillespie Band zurück.

[4], Stitts Eltern waren beide Musiklehrer und daher wuchs er in einem musikalischen Umfeld auf. 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. Stitt had drunk heavily since giving up heroin in the late fifties and the abuse was beginning to take its toll.

genre: Jazz; released in 1958 (58 years ago) Printed encyclopedias and other books with definitions for Sonny Stitt. [14], In 1975, Sonny had performed with Ron Burton, Major Holley an John Lewis at the Village Vanguard. in 1966 and Parallel-a-Stitt in 1967. n. Martin Kunzler, Stitts Vater Edward war Musikprofessor (Lehrer) und hatte Anstellungen am Wiley College und der Sam Houston State University. [2] He later began calling himself "Sonny".
It's the only way I know how to play. In 1943, Stitt met Charlie Parker. JB Blues Songtext von Sonny Stitt Quartet mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com

[11], Stitt recorded several times with his friend Gene Ammons, interrupted by Ammons' own imprisonment for narcotics possession. Known for his warm tone, he was one of the best-documented saxophonists of his generation, recording more than 100 albums. 1966 tourte Stitt öfter durch Europa, spielte auf Festivals und bekannten Clubs wie dem Gyllene Cirkeln in Stockholm. Februar 1924 in Boston; † 22. 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. [3] Als technisch versierter Saxophonspieler beeinflusste er viele Kollegen, darunter John Coltrane, Booker Ervin, James Moody, Hank Mobley oder Ronnie Scott. [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. Seine Mutter war Musiklehrerin und spielte Klavier und Orgel. [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. with Leon Spencer, Melvin Sparks, Idris Muhammad, and Virgil Jones, You Talk That Talk! All compositions by Sonny Stitt except where noted. Wegen Drogenhandels verurteilt, verbrachte er 1948/49 im Federal Narcotics Hospital in Lexington (Kentucky).[8].

[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. [1] He was given up for adoption in 1924 by his father and adopted by the Stitt family in Saginaw.

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. How High the Moon Songtext von Sonny Stitt mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com [5][6] Stitt verbrachte seine Kindheit in Saginaw (Michigan) und hatte vom siebten Lebensjahr an Klavierunterricht, wechselte aber später auf die Klarinette. Er ersetzte John Coltrane im Miles Davis Quintett im September 1960 und blieb bei Davis bis Anfang 1961. ", In 1952, Stitt had played with pianist Jimmy Jones and in 1953 performed orchestral music with Johnny Richards.

[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.

1949 hatte er sein Aufnahmedebüt als Leader auf dem Album All God’s Chillun Got Rhythm mit Bud Powell und J. J. Johnson. „Es gibt nur ein paar Möglichkeiten, einen guten Altsaxophonklang zu erzeugen – Parker und Stitt teilen sich eine der Möglichkeiten.“ (zit. While in high school in Saginaw, he played in the Len Francke Band, a local popular swing band. Ab 1966 spielte er auch auf einem elektrisch verstärkten Saxophon (Varitone). Diese Seite wurde zuletzt am 11. [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. A series of alcohol-induced seizures caused Stitt to abstain and kick the habit for good. Known for his warm tone, he was one of the best-documented saxophonists of his generation, recording more than 100 albums.


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