Search - Sonny Stitt, Oscar Peterson :: Sits in With the Oscar Peterson Trio

Number of Cuts is Incorrect

Zvi Szafran | Marietta, Georgia | 05/28/2009

(5 out of 5 stars)

"The disc is as great as everyone says, but the current Verve edition of this ("Originals B0012182") does not contain the last three cuts indicated--it only has the 8 cuts on the original album."

Doesn't get any better than this.

Tom Brody | Berkeley, CA | 05/25/2010

(5 out of 5 stars)

"SONNY STITT SITS IN WITH THE OSCAR PETERSON TRIO contains eleven composition. The album is really a vehicle for Mr.Stitt, as his instrument is closest to the microphone, and because the other instruments have only token periods of about one minute for playing their solos. The first piece, I CAN'T GIVE YOU ANYTHING BUT LOVE, starts out as a ballad, but after a minute turns into a fast be-bop piece, complete with saxophone pyrotechnics. At 2 minutes and 20 seconds, there is a one minute piano solo, which is followed by a shorter bass solo.



AU PRIVAVE has the most distinctive tune on the album, which is not surprising, as it was composed by Charles Parker. AU PRIVAVE is also featured on Mr.Stitt's album, STITT PLAYS BIRD (1966) on the Atlantic label.



THE GYPSY is a slow ballad, where Mr.Stitt plays the tune with many whole notes. But from time to time, Mr.Stitt steps up the tempo and inserts little flurries of 16th notes.



I'LL REMEMBER APRIL comes next, and the liner notes characterize Mr.Stitt's rendition as, "atypically cantering."



SCRAPPLE FROM THE APPLE also has a very distinctive tune, which is understandable, as it was composed by Charles Parker. Mr.Stitt also recorded this tune on his album, STITT PLAYS BIRD (1966).



I KNOW THAT YOU KNOW, the last piece on this album, is distinguished in that the bass line is extremely fast, and because Mr.Stitt plays in a rapid fluttering style. This rapid fluttering tends to be continuous (not broken into chunks). This piece is also distinguished in that the final 30 seconds takes the form of a jaunty march.



I saw Sonny Stitt perform at Keystone Korner in San Francisco, CA, and after that, again at a small street-corner tavern in Milwaukee, Wisconsin in early 1981. During that era, I saw Max Roach perform on three occasions (Keystone Korner in San Francisco, University of Wisconsin, and in Emeryville, CA), and I also saw Sam Rivers perform with Dave Holland (Keystone Korner). Moreover, in late 1980, I saw Art Blakey with Winton Marsalis perform in Madison, WI."