Search - Gene Ammons, Sonny Stitt :: Boss Tenors in Orbit (Dlx) (Dig)

Sublimely Soulful

Samuel Chell | Kenosha,, WI United States | 10/21/2002

(5 out of 5 stars)

"If your thing is "tough tenors" (though Sonny switches to alto on "Walkin" and "Why Was I Born?") accompanied by masterfully-played Hammond B3 (without any gratuitous bass player), this album will represent an unequaled event. It's also the best recording by 4 of the most soulful, empathetic musicians who ever played together--Jug and Sonny, organist Donald Patterson, and Sonny's favorite drummer, Billy James. The abum has been reissued several times under different titles and formats. The original LP opened with "Bye Bye Blackbird," featuring Donald Patterson's fresh, original chord changes (outclassing players like Jack Macduff and Jimmy Smith). The playing of Sonny and Jug is as lyrical and inspired as it's earthy and funky. And it's so much more than another "cutting contest." These are two musicians for whom the whole point of human existence is playing music, all the better if you can play it together--and neither player ever sounded better."John Brown's Body" (a tune that's become a signature number for Monty Alexander) is literally exhumed and reanimated by Jug and Sonny. Like Horace Silver's "The Preacher" (based on "Show Me the Way to Go Home" changes) it's an infectious "public domain" tune that brings out the spirits of both saxophonists at their most communicative, from extended emotive choruses to a feisty exchange of 4's. Patterson's a delight whether or not he's soloing (and he does get some extended solo space), because of his logical bass lines, rich registrations, judicious use of the Leslies, and responsiveness to his two boss men. Billy James synchronizes the time clock of his trap cymbals to Patterson's walking left foot and gooses the principals at every opportunity.And whether you love Gene Ammons or wonder why you should, simply listen to his building, passionate, inimitable sound on the opening track. All the man needs is a single note and he can simply knock you out--much like the sound of Judy Garland's voice.In short, this album comes closer than any other to capturing these two tenor titans at the top of their game. It's the way I remember them from their very best nights at the long-gone Chicago southside jazz club, McKee's Show Club (at 63rd and Cottage Grove). The remastering, though state of the art, does in effect produce some "digital drying-out" of those "dirty" Hammond frequencies and overtones (if you have a good LP version, save it). All the same, I'd swap 5 Joey D's and even Jimmy's "The Sermon" for this session."

An album of its time

Dr.D.Treharne | Exeter, Devon, United Kingdom | 10/23/2002

(4 out of 5 stars)

"An album where Sonny Stitt comes at you from the left channel and Gene Ammons from the right.Confusingly on "Walkin'" Stitt also plays alto as well, and on "Why was I born" he plays only Alto.So not completely Boss Tenors throughout!. However the blowing is joyous across nearly the whole album, and the pair were clearly at the height of their powers. The reason for only four stars really has to do with the material, which seems very much of its time.Recorded during the Civil war centennial "John Brown's body" is the nadir,with both players attempting to move away from the 'hard to improvise on' theme by throwing reducing clusters of notes at each other. This is really a shame, but at 7.22 it takes up a substantial part of the playing time on the CD.The other four tracks are really good, however.Favourites are the version of Jimmy Mundy's "Walkin'" and an excellent take of Kern& Hammersteins "Why was I born". The rhythm section is excellent throughout, though Don Patterson is rather more restrained than I would have liked (perhaps in defference to the hard blowing that's going on in front of him)and Paul Weeden on guitar and Billy James on drums propelling the whole session along really well. The remastering is excellent, and it would have been a five star review if it weren't for THAT version of John Brown's body!"

The Price of Progress

Samuel Chell | Kenosha,, WI United States | 07/13/2004

(4 out of 5 stars)

"As a result of remaining vigilant on Ebay, I've recently been able to restore the original monophonic vinyl LP to my collection. Now I know why this session has always been one of my 6-7 desert island discs. I'm sure the engineers who remastered this date were proud of their work: the two horns sound like they're rooms, practically worlds, apart; Billy James' drum kit sounds as "clean" as a Boss Dr. Jazz digital rhythm machine; Donald Patterson's bass lines are so definitive they sound like a separate instrument from his B3. The B3 itself has the immaculate sound of a new instrument (just what every true B3-lover despises). The ensemble ambience is so dry and unforgiving that the horns occasionally seem to be out of tune with each other and the rhythm section.



In short, it's a wonder that even the inspired musicmaking of this extraordinary pair somehow rises above the technology. Take it from me, the humble mono LP is far closer to the way this ensemble sounded when I heard them play in the early '60's at McKie's Show Lounge on Chicago's south side. There was no space (literally) between the musicians or between the musicians and the listeners (on more than one occasion I simply reached across the bar to supply Sonny with his drink--didn't even have to get off the stool). Only on the vinyl do you begin to feel included in the sound mix, much as in the club itself.



Granted, the CD reissue isn't as indispensable as the original, but it's still exemplary Ammons-Stitt-Patterson, and most musicians I know have ears that can "translate" even bad audio reproduction into sublime musical content (which helps explain the high regard for much early recorded material by Bird, Billie, Satchmo, and even Tatum).



For the record, Sonny plays tenor and not alto on "Walkin'", the blues line made famous by Miles. He's so fluid and comfortable in the upper register of the instrument that it's easy to be fooled. And whether you call it "John Brown's Body" or "Battle Hymn," there are many players and listeners alike who will find these public domain chord changes, like those of the blues, felicitous ones to blow on."