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Détails sur le produit

  • CD (25 février 2006)
  • Nombre de disques: 1
  • Format : Enregistrement original remasterisé
  • Label: Verve
  • ASIN : B000AXZCSM
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 4 commentaires client
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SONNY SIDE UP (VERVE ORIGINALS SERIE)

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Format: CD
Le brillantissime trompettiste Dizzy Gillespie convie les deux Sonny du sax ténor à le rejoindre en compagnie de sa section rythmique du moment (1958). Sonny Stitt joue dans un style véloce et ancré dans le bop pur. Sonny Rollins a un son plus gras et une personnalité très affirmée.
Chase des deux ténors dans "The eternal triangle", riffs et encouragements derrière les solos, stops chorus multiples pour Rollins sur "I know that you know", solo d'introduction bluesy à souhait du pianiste Ray Briant dans le sensuel "After hours", vocal facétieux de Dizzy dans le dernier thème d'"On the sunny side of the street" et envolées dans les suraigus de sa trompette pimentent cette exceptionnelle rencontre.
Remarque sur ce commentaire 3 sur 3 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par BAGRATION COMMENTATEUR DU HALL D'HONNEUR le 22 août 2012
Format: CD
Bon on en revient aux bons vieux fondamentaux : vitesse d'exécution, improvisations explosives, à fond du début à la fin et quand ça cesse les étincelles retombent en pluie...Bref que du bonnissimement bon et dans la foulée une gnole à haut degré d'octane sous la forme d'un pt'it blues de derrière les fagots....Là les trois monstrueux compères s'arrachent peinards...Que du genialement génial....
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Format: CD
Voilà peut-être un des plus grands albums de Jazz !
Epaulé par Sonny Stitt et Sonny Rollins tous deux au mieux de leur forme, Dizzy est étincelant de bout en bout.
L'album commence par une savoureuse version d'"On The Sunny Side Of The Street" recélant un superbe solo de Rollins.
Vient ensuite un incroyable duel de ténor Rollins-Stitt sur un tempo d'enfer, c'est "The Eternal Triangle", titre de prés de 15 minutes.
Enfin, un blues splendide "After Hours" où le pianiste Ray Briant et Diz brillent de tous leurs feux !
Si vous ne connaissez pas bien le Jazz, c'est peut-être par cet album qu'il faut commencer.
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Format: CD Achat vérifié
there are no better words to describe this wonderful recording. fantastic music. excellent musicians. definetely recommended for the real jazz conaisseurs.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0xa2b3436c) étoiles sur 5 37 commentaires
50 internautes sur 52 ont trouvé ce commentaire utile 
HASH(0xa2b8dd8c) étoiles sur 5 Lives up to expectations 2 mai 2000
Par Tyler Smith - Publié sur Amazon.com
Format: CD
I approach "all-star" recordings cautiously because they don't always live up to their billing. Sometimes the talent is there but the chemistry isn't, sort of like a basketball team that looks great on paper but comes up short in execution. Happily that isn't the case with "Sonny Side Up." There's plenty of room for Rollins, Stitt and Gillespie to show off their individual chops, but they all work together for a satisfying group sound.
As soon as you hear "Sunny Side of the Street," you know you're in for a good time. It's a great, joyful song that's enlivened by Dizzy's appealingly fractured vocal. "Eternal Triangle" is appropriately named as all three of these great improvisers fire up zesty solos made in hard bop heaven. The contrast of sounds between the tenors and Gillespie's darting trumpet is wonderful.
My favorite cut, however, is a definitive blues workout, "After Hours." It's a classic approach that allows the horns to play the set refrain together, and then bow out on a recurring vamp, leaving one soloist to take his turn blowing the blues. None of the three horns gets cheated. Pianist Ray Bryant enriches the mix, not only with a fine solo but with his perfect comping.
This is one of those releases that I've never gotten tired of. It's a classic from three of the premier practitioners of bop, each of whom help to bring out the best in one another. A must for any serious jazz collection.
50 internautes sur 54 ont trouvé ce commentaire utile 
HASH(0xa29cf69c) étoiles sur 5 Quintessential late fifties be-bop 12 juin 1998
Par Emmett T. McQueen - Publié sur Amazon.com
Format: CD
The trend toward hyperbole with these reviews is justified with an album like "Sonny Side Up". No bones about it, this CD is a smoker! This was one of my first albums that set the hook for 28 years of jazz enjoyment. With thousands of records in my collection now I still never tire of this one, a desert island pick for sure.
Diz, Newk and Stitt are at the pinnicle of their creative careers. Dizzy is like bubbling oiled fire. Rollins...raw, biting, searching. Stitt...smooth as butter, funny, fast. One of the two strokes of genius on this date...the pairing of these two tenor titans. Their styles are so totally different yet they compliment one another.
The other stroke of genius is the use of blues oriented jazz pianist Ray Bryant who adds a solid mood that anchors this session.
"On The Sunny Side Of The Street" opens the set at a business man's bounce. Stitt takes the first solo followed by Diz using a Harmon mute. Rollins jumps in with all fours and the out melody is sung by (who else) Dizzy embelishing the lyrics with "Dizzyisms".
A Stitt original "The Eternal Triangle" flys. Faster than my metronome (208). Stitt takes the first solo and is off. The ideas just gush out. His tone is so beautiful and his rhythm is right on the money. Dizzy and Rollins throw in shout riffs behind him to build the energy. Stitt's solo ends when Rollins busts through the door and they begin trading "fours". As Joe Bob Briggs might say..."then they got pissed". Each tries to outdo the other and succeeds, the result is an exremely exciting and climactic romp through this tune. After they trade "eights" Dizzy tepidly enters on unmuted horn and cools things down before launching into one of the most inspired solos of his life. He squeezes out screeching high notes, half valves it, jerks the rhythm and finally ends by trading fours with drummer Chas Persip ending the head with a blazing tag.
Ray Bryant has made the Avery Paris! h tune "After Hours" his own with this recording. The Bryant touch is so blue it profounly affects the horn soloists. Each tune shows Dizzy's musical stamp with small ensemble riffs sometimes launching a soloist. This tune is no exception. A classic.
Another workout for bassist Tommy Bryant is "I Know That You Know". Sonny Rollons "stop time" solo on this showcases his ability to hear the chords and rhythm in his head and jettison the band for several choruses.
This is a good CD to turn a novice on to jazz or perk up some jazz die hard. It doesn't get any better than this! A ten on the groove-o-meter.
19 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0xa2b95018) étoiles sur 5 One of THE GREATEST bebop albums of all time 17 août 2001
Par John Campbell - Publié sur Amazon.com
Format: CD
Stitt, Dizz, and Rollins combine perfectly while still showing off their individual talents. "On the Sunny Side of the Street" is a sweet, laid back tune that immediately lets you know that you're listening to a classic. "Eternal Triangle" is a fast-pace battle of the masters between Stitt and Rollins. According to the booklet, Dizz told Rollins and Stitt each separatley that the other one was "loaded for bear" on "Eternal Triangle". It shows in the song; the two tenors trade fours and then eights and have an all-out war! Dizzy's punctuating trumpet completely balances the saxophones, and the rhythm section sets a steady groove for the brass to improvise on. If you are at all interested in jazz, I suggest you buy this cd NOW!
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0xa29d70c0) étoiles sur 5 I'd give it 6 stars if I could... 25 février 2001
Par Un client - Publié sur Amazon.com
Format: CD
This album is HOT. "On the Sunny Side of the Street" is a great laid-back tune. Sonny Rollins' solo is a work of art. Taking hints from Louis Armstrong's version, it is melodic and paired up with Rollins' full tone...I can't stop listening to it. Dizzy's vocal at the end is reminiscent of Satch too, in the way that neither had a good voice, but were able to have a strong effect on the listener. "The Eternal Triangle" is an all-out battle between Rollins and Stitt, mostly because Gillespie had told each one separately that the other was talking trash. They trade 4's, then 8's, until Dizzy comes in with some nice work of his own. "After Hours" is a slow blues, and with these three playing it, what more do I need to say? "I Know That You Know" is just as "smokin" as "The Eternal Triangle," with a Rollins stop-time solo. I'm really impressed with Rollins' work on the whole album, I also bought his "Saxophone Colossus." The "Sonny Side Up" original liner notes discuss his use of thematic improvisation, as opposed to just flailing through the changes. Plus, his tone is just flawless- thick and centered, if it were hair they would say it has "body." BUY IT.
7 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0xa29cfe10) étoiles sur 5 Nat Hentoff's mistake; Roberta Gambarini's redemption of it. 28 avril 2003
Par Giuseppe C. - Publié sur Amazon.com
Format: CD
[At the risk of antagonizing another reader, I must point out that the normally authoritative, insightful critic Nat Hentoff made a not inconsiderable error in the liner notes of the original LP, reproduced here (along with a new essay by Loren Schoenberg) in the digital reissue. Hentoff states that the first solo after the introductory melodic chorus of "On the Sunny Side of the Street" is by Rollins. Although there are many areas in life and music where uncertainty and doubt are the rule, the inimitable, full-throated, pure yet embodied sound of Sonny Stitt's saxophone is not one such area. The first solo is, without a doubt, by Sonny Stitt who, if he isn't the alpha and omega of great saxophonists, is perhaps as close to "perfection" as any saxophonist this great African-American art form has produced. Yet with each passing year, it seems his chances (like those of giants like Hank Mobley and Harold Land) of entering Down Beat's "Hall of Fame" of Jazz Immortals grow ever more remote. All of which makes both this recording and Roberta Gambarini's recognition of its importance all the more significant and remarkable.]

Anyone who has gotten this close to one of the truly essential sessions in American music--practically more priceless than any contemporaneous Blue Note recording that comes to mind--owes it to themselves to check out Roberta Gambarini's "Easy to Love." Perhaps you think you've heard it all, especially after Manhattan Tranfer's "Airegin" (Rollins) and "Joy Spring" (Clifford Brown--vocalese in both cases courtesy of Jon Hendricks) and Kurt Elling's "Tanya" and "Body and Soul" (both Dexter Gordon solo transcriptions). But Roberta Gambarini arguably takes it a step further: she lifts from this album Jimmy McHugh's "On the Sunnyside of the Street" and "sings" the intricate solos of Diz (vocal and trumpet), Stitt and Rollins! Also, give her high marks for recognizing "Sonny Side Up" for the landmark date that it is (if more Americans had the same degree of cultural awareness, "Easy to Love" would be in every other household.

This was one of two sessions with Diz, Stitt and Rollins recorded by Norman Granz and originally issued on the Verve label. It would be my choice ahead of any of the ten jazz albums currently being peddled as "The Verve Music Group's Desert Island Disc Series." Incomprehensibly, the Verve "Decalogue" makes no mention of Dizzy, Bird, or Art Tatum, all of whom recorded extensively for the label. In fact, Oscar Peterson's only appearance in the series is as an accompanist on "Ella and Louis."

To my ears, Stitt is the highlight, a consummate, polished master pushed the extra mile by the charging Rollins. On the other hand, Stitt may be thought of as a synthesis of the bebop of the '40s whereas Rollins manages to expose new improvisatory areas not ventured into by the facile and flawless but more exemplary Stitt.

Stitt has the first extended solo on the album, a beautifully structured and immaculate exploration of the changes to "Sunny Side of the Street" for which Rollins has no answer. On the modified "I Got Rhythm" changes of "The Eternal Triangle" Rollins goes first. Stitt's solo again surpasses him, going for two carefully, complexly developed climaxes in the altissimo register, then continuing the pummeling for a dazzling (and exhausting) series of fast and furious tenor exchanges. Beginning with 4-bar volleys for several choruses, the pair raise the intensity yet another level by moving to 8-bar exchanges for the last couple of choruses. It's at the beginning of the last chorus that Stitt answers Rollins with a headspinning harmonic display that makes the rest of the band sound like its standing still. Soon Ray Bryant has the presence of mind to go to the alternate harmonies implied by Stitt's 8-bar stretches, during which the multi-reedist all but ignores the blistering tempo and inserts a new chord plus upper extensions on virtually every beat. (And to think that Stitt, to the degree that his name brings any recognition at all, is associated by many jazz followers only with the alto saxophone!)

Rollins' best moments come during his solo over stop-time choruses on "I Know That You Know," frequently singled out as some of his best playing on record. But even here Stitt, at worst, matches him--again giving lessons on crisp articulations, clarity and projection of sound, strategic double-timing of the tempo, and the execution and placement of top tones from the altissimo register.

The point is not to idolize Stitt or denigrate Rollins but to call attention to the unfairness of polls that give no consideration to Stitt in the annual "hall of fame" category or the "essential" collections that make no mention of Stitt on either tenor or alto (it's appropriate that Burns would have single "Best of" anthologies for the work of Rollins, Lester, Hawk, Bird, Cannonball, etc.--but the exclusion of Stitt becomes all the more predictable and disturbing each year).

Or is the supreme player the one under whose name the album is listed? While all of the hard-bop, soul-jazz, funk-stuff was going on at Blue Note, Norman Granz at Verve was keeping the complex and challenging "language" of bebop alive, and with the exception of Bird, Diz was unmatched in his mastery of that language. He's the James Joyce of bebop, the supreme "player" of a fast-action game admitting no pretenders. His more conservative playing after 1960 and the public's response to Miles Davis should never be allowed to diminish the predecessor's greatness, which is all too apparent on each of these extraordinary match-ups.

Some listeners no doubt will prefer the innovative, turbo-charged Rollins to either Diz or Stitt. A case could easily be made for any one of the three, all the more reason to have this album on any short list of essential recordings.
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