Opening the iTunes Store.If iTunes doesn’t open, click the iTunes icon in your Dock or on your Windows desktop.Progress Indicator
Opening the iBooks Store.If iBooks doesn't open, click the iBooks app in your Dock.Progress Indicator

iTunes is the world's easiest way to organize and add to your digital media collection.

We are unable to find iTunes on your computer. To preview and buy music from Back to My Own Home Town (The Definitive Black & Blue Sessions (Paris, France 1979)) by Sonny Stitt, download iTunes now.

Do you already have iTunes? Click I Have iTunes to open it now.

I Have iTunes Free Download
iTunes for Mac + PC

Back to My Own Home Town (The Definitive Black & Blue Sessions (Paris, France 1979))

Open iTunes to preview, buy and download music.

Album Review

Sonny Stitt toured Europe in 1979 with pianist Gerald Price, bassist Don Mosley, and drummer Bobby Durham, though he only made two recordings with this rhythm section, the other of which was a date led by Milt Jackson. The bop giant alternates between alto and tenor sax. On alto, Stitt offers a driving, very bluesy take of "(I'm Afraid) The Masquerade Is Over" and a relaxed bossa nova arrangement of Charlie Parker's "Little Suede Shoes." Switching to tenor sax, he delivers a richly textured take of the standard "I Can't Get Started." The leader also composed four of the songs on the date, showcasing Price extensively in the down-and-dirty "Simone's Blues" and delivering an exuberant tenor solo in the uptempo "Streamline Stanley." Perhaps the greatest surprise is Stitt's rare appearance as a vocalist in his upbeat "Back to My Own Home Town." Less then three years before his death, Sonny Stitt was still at the top of his game.


Born: 02 February 1924 in Boston, MA

Genre: Jazz

Years Active: '40s, '50s, '60s, '70s, '80s

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 Stitt. 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...
Full bio