Sonny Stitt

Alto and Tenor Saxophones · born 2 February 1924 died 22 July 1982

Click for Richard Cook Bio

A favourite source of debate is the extent to which Stitt came up with his own style: how much he took from Charlie Parker, and how much came from inside. Originally from Boston, he joined the Billy Eckstine orchestra in 1944, then went to the Dizzy Gillespie sextet and big band. But he lost his New York cabaret card when getting into trouble over narcotics, and then spent time in Detroit and Chicago, concentrating for the moment on tenor sax (and very occasionally baritone). By 1950 he was back in New York and formed a frequently convened partnership with Gene Ammons. Thereafter he spent the rest of his life as a nomadic solo: there were occasional stints with Miles Davis (1960–61), Jazz At The Philharmonic, and the Giants Of Jazz (1971–2), but Stitt never stayed in one place for long. He began playing the alto again after Parker's death, and for a while he played it through the Varitone attachment, an electronic fad which he toyed with in the late 60s. As he grew older, Stitt settled into his alto style, and the Parker comparison began to seem redundant: both men were working off the same sheet, but Stitt forced his own agenda on to the notes, and could sometimes call up the shades of Lester Young and Wardell Gray (who had once given him some informal lessons). He recorded a bewildering number of albums for at least 30 different labels: many of the sessions are entirely routine, since Stitt had seemingly little interest in posterity, but when at his best and with sympathetic accompanists he always proved the durability of hardcore bebop improvisation. He loved the challenge of a jam session: Art Pepper's recounting of one battle with Stitt (in his autobiographical Straight Life) is unforgettable. Sonny never came off the road, and died only a few days after flying home from his final concert in Japan.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.