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]
Nice Work If You Can Get It
Sonny Stitt Lyrics
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Lives a life that isn't necessarily sunny
Likewise the man who works for fame
There's no guarantee that time won't erase his name
The fact is, the only work that really brings enjoyment
Is the kind that is for girl and boy meant
Fall in love and you won't regret it
Holding hands at midnight
'Neath a starry sky
Nice work if you can get it
And you can get it if you try
Strolling with the one girl
Sighing sigh after sigh
Nice work if you can get it
And you can get it if you try
Just imagine someone
Waiting at the cottage door
Where two hearts become one
Who could ask for anything more?
Loving one who loves you
And then taking that vow
It's nice work if you can get it
And if you get it, won't you tell me how?"
Just imagine someone
Waiting at the cottage door
Where two hearts become one
Who could ask for anything more?
Loving one who loves you
And then taking that vow
Nice work if you can get it
And if you get it, won't you tell me how?"
In "Nice Work If You Can Get It," Sonny Stitt reflects on the importance of finding fulfilling work. He acknowledges that those who live solely for the pursuit of money or fame may not necessarily live happy lives, as those things are not guaranteed and can be fleeting. Instead, Stitt suggests that the only type of work that truly brings enjoyment is that which is meant for both girls and boys — falling in love.
The lyrics paint a vivid picture of romantic love as the ultimate form of rewarding work. Holding hands at midnight under a starry sky and strolling with a loved one are both depicted as "nice work" if you can get it. The chorus repeats the sentiment that love is indeed the best work of all, and that it is only attainable if one tries.
The final lines of the song encourage the listener to imagine finding someone waiting at the cottage door, where "two hearts become one." Stitt emphasizes that finding someone who loves you and taking that vow is "nice work" if you can get it — a sentiment that is both romantic and poignant.
Overall, "Nice Work If You Can Get It" is a testament to the idea that finding fulfilling work is all about finding something that resonates with your heart and soul. Whether that means pursuing a career you're passionate about or finding that special someone to share your life with, the message is clear: work can only truly be rewarding if it resonates with what you truly desire.
Line by Line Meaning
The man who only lives for making money
Living only to make money isn't always a bright path
Lives a life that isn't necessarily sunny
Being consumed with one's work doesn't guarantee happiness
Likewise the man who works for fame
Similarly, those who work for fame face an uncertain future
There's no guarantee that time won't erase his name
Their name and accomplishments may eventually be forgotten
The fact is, the only work that really brings enjoyment
The truth is that only work that brings happiness
Is the kind that is for girl and boy meant
Is the kind of work that is meant for love
Fall in love and you won't regret it
If you fall in love, it will be worthwhile
That's the best work of all, if you can get it
That's the most fulfilling work, if you can find it
Holding hands at midnight
Romantic moments like holding hands at midnight
'Neath a starry sky
Underneath the countless stars
Nice work if you can get it
It's an amazing feeling if you can achieve it
And you can get it if you try
It's possible to achieve this kind of love if you put in the effort
Strolling with the one girl
Walks, hand in hand with a special girl
Sighing sigh after sigh
Losing oneself in deep, heartfelt sighs
Just imagine someone
Picture someone in your heart
Waiting at the cottage door
Waiting for you at the cozy cottage door
Where two hearts become one
Where two hearts blend into one
Who could ask for anything more?
What meaningful thing could anyone ask for?
Loving one who loves you
Being loved by someone you also love
And then taking that vow
Together making a pledge of eternal love
It's nice work if you can get it
It's a beautiful thing to experience
And if you get it, won't you tell me how?
If you experience it, please show me how to get there too!
Lyrics © Warner/Chappell Music, Inc., RALEIGH MUSIC PUBLISHING
Written by: George Gershwin, Ira Gershwin
Lyrics Licensed & Provided by LyricFind