Another very good Stitt, "Salt and Pepper" 5 of the tracks feauture Paul Gonsalves (tenor sax) along with Stitt (alto and tenor sax).
Charles, |
Hi Frogman,
We're in agreement. Here's one for you, I'm more moved and get more enjoyment from Theloneous Monk than the rightfully esteemed Oscar Peterson(how's that for a minority view?)
Charles, |
Frogman,
I like your list if you're going to limit it arbitrarily to 3 tenor saxophonists.
Are we talking overall influence and stature or who we enjoy the most to
listen to? If it's the fomer criteria it's impossible to omit John Coltrane and
Coleman Hawkins . I'd replace Rollins with Lester Young, I know obviously
both are jazz icons and either is worthy. For pure listening pleasure I love
Dexter Gordon. Sonny Stitt was simply a master of both the alto and tenor
saxophones and one of my favorites. So many great ones to talk about .
Don't get me started on the trumpeters.
Charles, |
Hi Frogman,
Good points,
Virtuoso? wow, really tough to say. Certainly Coltrane and I'd have to put James Carter on this plane as well. Joe Henderson is an under appreciated but massive talent! You could make a very favorable comparison of his work vs Wayne Shorter(the better known). The more I think about it Sonny Stitt was a virtuoso if there ever was one, total mastery of the saxophone in any genre he chose. I could discuss this topic for days as I have such admiration for these extraordinary musicians.
Charles, |
Frogman,
You always present a very reasoned perspective and commentary which I sincerely appreciate. On pure technical prowess I get your point about Brecker's status. The thing is though I approach music as such an art form that I judge the musicians on the overall package they have to offer and my emotional reaction to how they play. So the ones who pull me into their music the deepest (and keep me there as well) are more compelling and influential in my estimation.
On technique I've read the same about Jimmy Dorsey on alto sax (flawless they said) yet I'll take Charlie Parker in an instance for actually listening to and enjoying (no slouch when it comes to technique eithe). I'm most moved by the musician's ability to communicate and connect with emotion.
Charles, |
"Bird proceeded to pawn it" Sad but not surprising given Parker's unfortunate addictions.
It's really interesting that a jazz colossus such as Miles was in absolute awe and near worship of Bird. Miles says even the very best musicians(regardless of instruments played) of that era simply deferred to Parker's genius and playing ability, so great was his influence. So your insightful story about Dorsey and Bird makes perfect sense.
Charles, |
Hi Tubegroover,
No need for sparks to fly and others have said the regarding Mile's technical facility, I'll just respectfully disagree with you on this one. Mile's point was no matter the status or reputation of the musicians their feeling of Bird amongst them was universal.
Tubegroover I always appreciate your contributions on this site. No law says we have to always agree (that'd be no fun). This is no different than if we were discussing who are the most beautiful women or the best athlete ever.
Informed opinions are great.
Charles, |
Hi Frogman,
It's funny as I went back and forth with the first two exactly for the reasons you wrote! Trane and Cohn have more distinctive signatures that I can recognized. I'd probably do better with the jazz trumpeters.
Charles, |
Yep!
Miles played the way he 'felt' the music and via his unique interpretation. He mentioned that himself when talking about his great 1950s group that included Coltrane and Julian "Cannonball". Saying that Coltrane played "sheets" of sound and that he (Miles) was much more inclined to play fewer notes and instead use space (which he did beautifully). Listen to his playing with his second great quintet in the 1960s, there's no lack of technique. Clifford Brown is of course on the Mount Rushmore of trumpeters and was influenced by the nearly forgotten (but superb) Fats Navarro . I'd say in terms of similar technical approach Thad Jones was closer to how Clifford played.
Mingus thought Thad was better than Clifford and Miles. We all have opinions don't we?
Charles, |
I'll apologize for taking the thread off course. When discussing music and
musicians I can get very passionate and a bit carried away. When someone
like Frogman joins the fray I just have to respond to the many interesting
and fine comments he has to offer. There's so much to be said about these
types of topics that it's easy to go astray. The music talk is more fun than
the equipment discussions.
Charles |
Zoot45 yes,the OP listed jazz tenor saxophonists to get this initiated. . |
Frogman,
We forgive this transgression, now carry on sir. |
The only one I'm sure of is Coltrane is the fourth tenor.
I'll say Sims, Mobley, Cohn, Trane. Hope you're grading on a curve Frogman. Thanks for the music.
Charles, |
Acman3,
I'll suggest,
1) "Constelltion"alto and tenor sax, Bop and Ballads features Barry Harris and Sam Jones.
2) "Stitt Meets Brother Jack" All tenor sax very bluesy with organist Jack Mc Duff.
3) "Sonny Stitt" Jazz masters 50 on Verve. Alto and tenor sax, compellation and very good! Blues, Bop and Ballads .
4)"Sonny Stitt with The Oscar Petterson Trio" A very good session,It just swings.
Charles, |
Acman3,
If you can find them on vinyl , good for you. My recommendations were the CD versions and all of them have exceptional sound in addition to the wonderful music.
Charles, |
Thanks, that was nice and sweet. I always associate frank Wess with Frank Foster. When I first became interested in jazz it seems I often came across recordings that featured both of them. They're wonderful players.
Charles, |
