Sonny Stitt – Blows The Blues (1960/2014)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 36:49 minutes | 1,45 GB
FLAC (tracks) 24-bit/88,2 kHz | Time – 36:49 minutes | 717 MB
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Front Cover
Genre: Jazz | © Analogue Productions (Verve)
This album came out of a series of three recording sessions by Sonny Stitt toward the end of 1959, and sees the jazz saxophonist delve into the world of blues.The album blends powerful original songs written by Stitt with a couple of standards that get new life breathed into them. Stitt plays alto sax exclusively on this release, which led to unfair comparisons at the time to Charlie Parker. This album has been out-of-print and almost impossible to find for many years, until now.
Sonny Stitt led a number of excellent record dates in 1959, especially at the end of the year when he produced three LPs for Verve over a span of three sessions with pianist Lou Levy, bassist Leroy Vinnegar, and drummer Mel Lewis. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career. The music includes several potent originals, especially “Hymnal Blues” (which is based on an old hymn) and the slow, powerful “Morning After Blues.” Even an old warhorse like “Frankie and Johnnie” (which actually dates back to the early 1800s, according to liner note writer Leonard Feather) sounds fresh in the quartet’s hands, with great solos by Stitt, Levy, and Vinnegar.
01 – Blue Devil Blues
02 – Home Free Blues
03 – Blue Prelude
04 – Frankie And Johnny
05 – Birth Of The Blues
06 – A Blues Offering
07 – Hymnal Blues
08 – Morning After Blues
Sonny Stitt – alto saxophone
Lou Levy – piano
Leroy Vinnegar – bass
Mel Lewis – drums
Recorded on December 21 & 22, 1959 in Los Angeles, California.
Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM.
George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The DSD was sourced from the PCM.