SONNY STITT AND BENNIE GREEN MY MAIN MAN-ARGO MONO 744

$

35

SONNY STITT AND BENNIE GREEN MY MAIN MAN-ARGO MONO 744


A VG+ ORIGINAL LP ON ARGO 744

A MONO DEEP GROOVE PRESSING FROM 1964 WITH GREY LABEL

WITH ORIGINAL ARGO THUMBNAIL INNER SLEEVE AS SHOWN

CUT IN CHICAGO IN MARCH OF 1964 AT TER MAR STUDIOS BY RON MALO AND PRODUCED BY ESMOND EDWARDS

WITH SONNY ON ALT AND TENOR, BENNIE GREEN ON TROMBONE, BOBBY BUSTER ON ORGAN, JOE DIORIO ON GUITAR, DOREL ANDERSON ON DRUMS

7 TRACKS INCLUDE FLAME AND FROST, LET'S PLAY CHESS, DOUBLE DIP, OUR DAY WILL COME, MY MAIN MAN, THE NIGHT HAS A THOUSAND EYES, BROILIN'

FRONT COVER WITH SOME LIGHT RUB WEAR. CORNERS AND EDGES WITH ROUGH SPOTS, LOWER LEFT CORNER WITH SMALL CRUSH MARK ON POINT. BACK WHITE CARD STOCK WITH OVERALL LIGHT RUB WEAR AND AGE DISCOLORATION. AN INKED NAME AND DATE ON BACK. SOME LIGHT SMALL STAINS TO BACK COVER. TOP AND BOTTOM EDGES WITH SOME SMALL ROUGH SPOTS/OUTER LAYER LOSSES.

SOME LIGHT SPINDLE RUB MARKS AROUND HOLE. VINYL WITH SOME LIGHT AND FINE SURFACE MARKS/RUB SCUFFS/LIGHT PLAY LINES UNDER ANGLED LIGHT.

FROM A PRIVATE JAZZ COLLECTION STORED BY THE ORIGINAL OWNER WHO WAS A NOTED JAZZ BAND ASSOCIATE

FROM THE ALLMUSIC.COM WEBSITE:
Biography
by Ron Wynn and Bob Porter
Charlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Sitt. There was almost note-for-note imitation in several early Stitt solos, and the closeness remained until Stitt began de-emphasizing the alto in favor of the tenor, on which he artfully combined the influences of Parker and Lester Young. Stitt gradually developed his own sound and style, though he was never far from Parker on any alto solo. A wonderful blues and ballad player whose approach influenced John Coltrane, Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad. He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band in 1945, playing alongside other emerging bebop stars like Gene Ammons and Dexter Gordon. Stitt later played in Dizzy Gillespie's big band and sextet. He began on tenor and baritone in 1949, and at times was in a two-tenor unit with Ammons. He recorded with Bud Powell and J.J. Johnson for Prestige in 1949, then did several albums on Prestige, Argo, and Verve in the '50s and '60s. Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s. After a brief stint with Miles Davis in 1960, he reunited with Ammons and for a while was in a three-tenor lineup with James Moody. During the '60s, Stitt also recorded for Atlantic, cutting the transcendent Stitt Plays Bird, which finally addressed the Parker question in epic fashion. He continued heading bands, though he joined the Giants of Jazz in the early '70s. This group included Gillespie, Art Blakey, Kai Winding, Thelonious Monk, and Al McKibbon. Stitt did more sessions in the '70s for Cobblestone, Muse, and others, among them another definitive date, Tune Up. He continued playing and recording in the early '80s, recording for Muse, Sonet, and Who's Who in Jazz. He suffered a heart attack and died in 1982.

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 246 (GS 5.1.1 (246))