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Mosaic Records Releases The Complete Roost Sonny Stitt Recordings

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Showcasing One of the Most Artistic and Exciting Jazz Saxophonists Ever at the Peak of His Craft



During the bebop era, Charlie Parker was the man on alto saxophone, but Sonny Stitt wasn't far behind. Employing an approach that drew heavily on the groundbreaking style of Parker but which was ultimately personal, Stitt was one of the most extraordinary of alto and, later, tenor saxophonists in modern jazz. His rich melodic conception and deep sense of swing moved audiences, and made him an extremely in-demand musician until his death in 1982 at age 58.

The Complete Roost Sonny Stitt Recordings is a 9-CD package that contains everything the saxophonist recorded in the studio for Roost, comprising 148 tracks, with 15 previously unreleased selections. This material, most long and undeservedly out of print, is a dazzling array of evergreen and not-often-heard standards, jazz classics and originals that reveals the greatness of Sonny Stitt. He offers everything from sizzling uptempos and grooving medium swingers to moving ballads and hearty blues. The saxophonist, playing both alto and tenor, is in superb company throughout, performing with such noted artists as arrangers Quincy Jones and Johnny Richards, cornetist Thad Jones, trombonist Kai Winding, pianists Hank Jones, Jimmy Jones, Dolo Coker, Harold Mabern and Chick Corea, organist Don Patterson, bassists Ben Tucker and Wendell Marshall, and drummers Jo Jones, Roy Haynes and Charlie Persip.

The first disc of this outstanding collection features Stitt with shimmering orchestral accompaniment provided by Johnny Richards (a rare 10" LP) and Quincy Jones. The bands employ such aces as trombonists Kai Winding, trumpeters Jimmy Nottingham and Thad Jones, pianist Horace Silver, bassists Oscar Pettiford and Charles Mingus and drummer Jo Jones. Among the selections are the unlikely “Shine On Harvest Moon," gorgeous ballads like “If You Could See Me Now" and “Star Dust," and such swingers as “Loose Walk" and “Quince."

The core of this set consists the remarkable Stitt saxophone, expertly accompanied by piano trios led by Hank Jones or Jimmy Jones and motorized by Shadow Wilson, Charlie Persip or the ever explosive Roy Haynes. Both Jonses prove to be perfect foils for Sonny; these top shelf quartets thrive on a steady diet of blues, bop tunes and standards. They even swing the hell out of “When The Red Red Robin (Comes Bobbing Along)."

For most of his life, Stitt was a nomadic lone wolf who usually toured as a single, picking up local rhythm sections. In his 40-year career he had only two working groups; both are represented here. His bop-driven quartet with pianist Dolo Coker, bassist Edgar Willis and drummer Kenny Dennis made the 1956 album 37 Minutes & 48 Mintues With Sonny Stitt, which has grown some here with the addition of four alternate takes. In 1962, he hired the trio of organist Don Patterson, guitarist Paul Weeden and drummer Billy James as a permanent group and the first album they recorded was “Feelin's".

Stitt Goes Latin, which features Stitt with trumpeter Thad Jones, pianist Chick Corea, bassist Larry Gales and a percussion section comprised of Willie Bobo, Patato Valdes and Osvaldo “Chihuahua" Martinez, is a unique standout in the saxophonist's vast discography. The numbers include Parker's “My Little Suede Shoes," a latin-zied “Autumn Leaves" and several originals in the Afro-Cuban vein.

Stitt's Roost years and this set end with an inspired 1965 quartet date with pianist Harold Mabern, bassist Ben Tucker and Roy Haynes, issued as Sax Expressions. An unissued tune and two alternate takes have been added to the original album.

The players who acknowledged Stitt as an influence or a favorites reads like a Who's Who of modern jazz saxophone, and includes John Coltrane, Sonny Rollins, Hank Mobley, Joe Henderson, Booker Ervin, George Coleman, Yusef Lateef and Charles Lloyd.

In his early career, from the mid-'40s to the early '50s, Stitt performed and recorded with Dizzy Gillespie, J.J. Johnson, Bud Powell, Billy Eckstine's big band and Gene Ammons and as a leader. But he really started to make a name for himself when he began to record for Roost Records in 1952, where all his work was produced by Teddy Reig, who had overseen Parker's initial sessions at Savoy Records. Stitt's 14-year stretch at Roost

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