Early life
Edward Boatner was born in Boston, Massachusetts[1] and grew up in Saginaw, Michigan. He had a musical background; his father, Edward Boatner, was a baritone singer, composer and college music professor, his brother was a classically trained pianist, and his mother was a piano teacher.[1] Boatner was soon adopted by another family, the Stitts, who gave him his new surname. He later began calling himself "Sonny".
In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an extraordinary similarity that was partly coincidental and not merely due to Stitt's emulation. Stitt's improvisations were more melodic/less dissonant than those of Parker. Stitt's earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also played in some swing bands, though he mainly played in bop bands. Stitt was featured in Tiny Bradshaw's big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie's band in 1945.[2]
Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1956, when he started to play tenor saxophone more frequently, in order to avoid being referred to as a Charlie Parker imitator. Later on, he played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948–49 for selling narcotics.
Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie Parker's style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor.[1] He played with other bop musicians Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as "Autumn Leaves."
Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s, paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar and at Newport in 1964 with other bebop players including J.J. Johnson.
He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by Ammons' own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott's in London, a live 1964 encounter with Ronnie Scott, The Night Has A Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey. Stitt was one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the albums What's New in 1966 and Parallel-A-Stitt in 1967.
Later life
In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. He also recorded another album with Varitone, Just The Way It Was - Live At The Left Bank in 1971 which was released in 2000.
Stitt joined the all-star group Giants of Jazz, which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk, Kai Winding and bassist Al McKibbon) and made albums for Atlantic Records, Concord Records and Emarcy Records. His last recordings were made in Japan. In 1982, Stitt suffered a heart attack, and he died on July 22 in Washington, D.C..[2]
Autumn in New York
Sonny Stitt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
So on this gray and melancholy day, I'll move to a Manhattan hotel.
I'll dispose of my rose-colored chattels and prepare for my share of adventures and battles,
Here on the twenty-seventh floor looking down on the city I hate and adore!
Autumn in New York, why does it seem so inviting?
Autumn in New York, it spells the thrill of first-nighting.
Glittering crowds and shimmering clouds in canyons of steel, they're making me feel I'm home.
Autumn in New
York is often mingled with pain.
Dreamers with empty hands may sigh for exotic lands,
It's autumn in New York,
It's good to live again.
In Sonny Stitt's "Autumn in New York," the singer reflects on the end of their holiday in the country and prepares to return to Manhattan. They describe the day as melancholic and gray as they dispose of their "rose-colored chattels" and get ready for what will inevitably be a challenge. Nevertheless, the singer looks forward to the idea of adventure and battle as they look out the window from their hotel room on the twenty-seventh floor, gazing down on the city that simultaneously inspires love and hate.
The singer then switches to a more nostalgic tone, describing the thrill of the autumn season in New York. They mention the "glittering crowds" and "shimmering clouds" among the canyons of steel, capturing the bustling energy and bright lights of the city during this time of year. They also mention the promise of new love that autumn brings, though it is not without pain and longing for those with "empty hands" who may dream of exotic lands. Ultimately, though, the singer seems content with the idea of living again and embracing what the city has in store for them.
Line by Line Meaning
It's time to end my holiday and bid the country a hasty farewell.
The vacation is over for Sonny Stitt and he needs to leave the countryside swiftly.
So on this gray and melancholy day, I'll move to a Manhattan hotel.
On a gloomy day, Sonny Stitt will shift to a hotel in Manhattan.
I'll dispose of my rose-colored chattels and prepare for my share of adventures and battles,
Sonny Stitt will get rid of his sentimental possessions and prepare himself for some exciting and challenging experiences.
Here on the twenty-seventh floor looking down on the city I hate and adore!
Sonny Stitt is on the twenty-seventh floor, relishing the view of the city he has mixed emotions for.
Autumn in New York, why does it seem so inviting?
Sonny Stitt is wondering why the season of autumn in New York has such a charming vibe.
Autumn in New York, it spells the thrill of first-nighting.
Autumn in New York signifies the excitement of attending a performance for the first time.
Glittering crowds and shimmering clouds in canyons of steel, they're making me feel I'm home.
The sparkling crowd of people and the striking skyline architecture of Manhattan make Sonny Stitt feel like he belongs there.
It's autumn in New York that brings the promise of new love.
Autumn in New York brings the hope of Sonny Stitt finding a new love.
Autumn in New York is often mingled with pain.
Autumn season in New York could be painful for some people.
Dreamers with empty hands may sigh for exotic lands,
People who have nothing but dreams may long for far-off places.
It's autumn in New York, It's good to live again.
Sonny Stitt feels like he can once again enjoy living in New York City thanks to autumn.
Lyrics © MUSIC SALES CORPORATION, BMG Rights Management, Sony/ATV Music Publishing LLC
Written by: Vernon Duke
Lyrics Licensed & Provided by LyricFind
@2005rosebud
Beautiful take! Thanks for posting
@shawnmcqueen3488
this is the jam....only 250 views...wth
@JudahDaniels
0:43 Mario kart lick :o
@vladamakhinya1155
Looooolllll
@howardgibson3421
Who ever you are you should get your facts correct I never said Sonny stitt was the architect of Bebop everyone knows that honor belongs to Charlie Parker AKA, BIRD.