The Sensual Sound Of Sonny Stitt

 

They Say It's Wonderful

The Sensual Sound Of Sonny Stitt

With The Ralph Burns Strings

Cover Photo: Murray Laden

Verve V-8451

1962

From the back cover: By now, presenting the great modern musicians as soloists in front of string sections is not unique. Neither has it been overdone and when a saxophone artist of Sonny Stitt's stature is heard in this context, it is an event. When this album will intrigue listeners who ordinarily might not be inclined towards a recording by Stitt, it will not send his regular fans running in the other direction.

It is no surprise that Sonny has finally recorded an album in this kind of setting. For all his speed on all the saxophones, basically he is a lyric performer. In an interview with writer Dave Bitten, (Down Beat, May 14, 1959), he said, "I don't like strange music. I'm not on Cloud Nine. Music should be a flowing, melodic thing. I think you should always be around the melody. Improvise, but stick to the basic melody. Bird was always 85 to 90 per cent around the melody..."

The mention of Parker brings to mind  that his recordings with strings (which can be heard on Verve, incidentally) were among the most famous made by any modernist and certainly set the pace for the ones that followed. Since Stitt has had to bear the burden of comparisons with Bird throughout his career, it would be no surprise if this recording caused some more talk along those lines. It might be a good time to reiterate that although Stitt has always worked within Parker's general style, his interpretation is a personal one. Don De Michael symbolized it in a Down Beat record review: "It's as if Parker designed a basic house that found wide acceptance, and then Stitt moved in but furnished it to suit his own tastes. Thus, though he didn't design or build the house, it nonetheless, is his own – it reflects his personality much more than the originator's."

As true as this is, the magnitude of Parker's talent and the inevitable comparisons forced Stitt to the tenor saxophone for recognition as an individual. Although he never abandoned the alto completely, it was certainly de-emphasized. It was only a matter of time before he realized acclaim as the great talent that he is. With Parker's passing in 1955, Stitt's also was strongly welcomed, even by the people who before hadn't found comparisons odious. One writer even went so far as to try to coerce Stitt who has a great reverence for Parker and a strong belief in his own identity. "I'm no new Bird, man. Nobody's Bird," he stated testily.

He is Sonny Stitt and anyone listening to the flawless warmth of these performances must admit that this is enough for anyone. There is sentiment in these selections, to be sure. There is great tenderness, too, but never is there slickness, cloying sweetness or sentimentality. Those who labeled him a "hard bopper" (a lazy terminology, at best) could only be correct if they were to equate "hard" with purity of sound and directness of emotion. It is that warmth of emotion which prevents this album from ever being bland.

Stitt, the melodist, is in strong evidence here. He has made sure that the melodies he is delineating are especially tuneful. In addition to the six standards he chose, Sonny enhanced the collection with four songs from his own pen.

Ralph Burns, one of our foremost composer-arrangers, who is perhaps best known for his work with Woody Herman, has seen to it that he strings (and the occasional winds and horns) which accompany Stitt are of a most sympathetic nature. They are a beautiful carpet with a fabric and design that can be admired but which never impede the alto saxophone promenades. When a light but firm pulse is required, there is an expert rhythm section to supply it. – Ira Gitler

Try A Little Tenderness

Back To My Home Town

All Of You

Never Felt That Way Before

World Really Isn't

They Say It's Wonderful

Time After Time

I Love You

Once In A While

Talk To Me