Sponsoring Committee: Dr.

David Schroeder, Chair

Dr. Panayotis Mavromatis

PRACTITIONER AND PROPHET: AN ANALYSIS OF

SONNY STITT’S MUSIC AND RELATIONSHIP

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TO CHARLIE PARKER
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Murray James Morrison

Program in Jazz Performance

Department of Music and Performing Arts Professions
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Submitted in partial fulfillment

of the requirements for the degree of
Doctor of Philosophy in the
Steinhardt School of Culture, Education, and Human Development
New York University
2018




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Copyright © 2018 Murray James Morrison

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 ACKNOWLEDGEMENTS

Thank you to my advisor and dissertation committee chair Dr. David

Schroeder. Thank you to my dissertation committee member Dr. Panayotis

Mavromatis. Thank you also to Dr. Thomas MacFarlane and Dr. David Elliott.

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Thank you to Dan Morgenstern and the staff at the Institute of Jazz Studies

at Rutgers University.
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Thank you to Nancy Hall, NYU Steinhardt’s Coordinator of Doctoral
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Studies. Thank you to my former confrères Dr. Robert Sabin and Dr. Michael

Eckroth.
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Thank you to my teachers at NYU: Kenny Werner, Rich Shemaria, Chris

Potter, Stefon Harris, Jean-Michel Pilc, and Dr. Anton Vishio. Thank you also to

my earlier teachers: Patricia Bevans, Michael Eddy, Jim Brenan, Raymond Baril,

Jim Riggs, Ralph Bowen and Lewis Porter.

Thank you to my wife Liu and my daughter Melody. Thank you to my father

Murray, my mother Cheryl, my brother Mathew, my aunt Lana and my uncle Andy.

Thanks be to God, through whom all things are possible.

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 TABLE OF CONTENTS

ACKNOWLEDGEMENTS iii

LIST OF MUSICAL EXAMPLES xii

CHAPTER

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I RESEARCH OBJECTIVE 1

Introduction IE 1
Problem Statement 5
Sub-problems 5
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II BEBOP AND THE INFLUENCE OF CHARLIE PARKER 7

A Musical Revolution 7
“Like a Prophet” 11
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Parker’s Imitators 15

III THE LIFE AND MUSIC OF SONNY STITT 18

Introduction 18
Family Background 21
Early Music Education 23
Early Professional Work 25
The Tiny Bradshaw Orchestra 27
The Billy Eckstine Orchestra 30
The Dizzy Gillespie Orchestra and Sextet 32
Other New York Work 34

continued

iv
 Chicago, Detroit, Lexington 35
The Tenor Saxophone 39
Gene Ammons 41
Back in New York 43
Prestige and Roost Records 45
Career as a Single Artist 48
First Marriage/Death of Charlie Parker 50
Verve Records and Jazz at the Philharmonic 52
New Quartet and Sonny Side Up 54
JATP and Argo Records 57
The Miles Davis Quintet 60
Second Marriage 64
New Recording Opportunities 66

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The Organ Bands 70

IV LITERATURE REVIEW IE 75

Introduction to the Sonny Stitt Literature 75

Stitt’s Early Life and Music Career 76
Stitt’s Recordings 82
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Stitt and Parker 84
Omissions in the Stitt Literature 85
Bebop and the Jazz Worldview 87
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V METHOD 90

Introduction 90
Historical Analysis 92
Selection Criteria 92
Challenges in Historical Research 96
Musical Analysis 98
Overview of Approaches to Analysis of
Jazz Improvisations 99
Analysis of Charlie Parker Improvisations 103
Analysis of Sonny Stitt Improvisations 107

continued

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 Analysis Method in the Present Study 112
Notation 118
Transcription Method 120
Challenges in Jazz Notation and Analysis 125
Selection Criteria 134

VI HISTORICAL ANALYSIS I: STITT’S CAREER 138

Introduction 138
Stitt’s Musical Influences 139
Early Musical Influences 140
Lester Young 142
Charlie Parker 147

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Encountering Parker’s Music 150
Charlie Parker with Jay McShann 151
Other Recordings 153
Washington, D.C. 156
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Meeting Charlie Parker 157
Stitt in New York 163
Billy Eckstine and Dizzy Gillespie 164
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New York Music Critics, 1946–1949 168
Parker’s Death 172
Incident at the Apollo Theater 172
Keys to the Kingdom 173
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Pallbearer at Parker’s Funeral 177

Memorials and Tributes 178
Live Performances 179
Recorded Tributes 181
Stitt Plays Bird 182

VII HISTORICAL ANALYSIS II: STITT’S CRITICS 187

Introduction 187
Establishing a Critical Consensus 188
Before the Critical Consensus 189

continued

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 After the Critical Consensus 190
“Parker’s Best Heir” 191
“Almost a Carbon Copy” 194
Stitt’s Contemporaries 198
Summary 202
Analytical Statements from Jazz Writers and Critics 205
Michael James 206
Martin Williams 210
Barry McRae 212
Brian Morton 214
Jim Burns 215
Dan Morgenstern 218
Stuart Nicholson 219

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Gerald Early 221
Gerald Majer 224
Summary IE 227

VIII MUSICAL ANALYSIS OF SELECT STITT AND

PARKER SOLOS FROM 1944 TO 1946 233
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Introduction 233
“Ready, Set, Jump” and “Oop Bop Sh’Bam” 234
“Red Cross” 241
Note on Selection of Repertoire 243
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IX MUSICAL ANALYSIS OF SONNY STITT’S SOLO

ON “READY, SET, JUMP” 247

Introduction 247
Stitt’s Bandmates and the Swing Style 248
Timbre and Expressive Devices 249
Eighth-Note Phrasing 252
Harmony 253
Chromatic Chord Substitution 257
Phrase Construction 259
Melodic Contour 261
Conclusion 263

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X MUSICAL ANALYSIS OF SONNY STITT’S SOLO
ON “OOP BOP SH’BAM” 267

Introduction 267
Double-Time Rhythm 271
Approaches to Phrasing: Stitt and Gillespie 276
Phrase Construction 279
Harmony 282
Chromaticism 284
Blues Inflection 287
Timbre 289
Conclusion 290

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XI MUSICAL ANALYSIS OF CHARLIE PARKER’S
SOLO ON “RED CROSS” 294

Introduction 294
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Recording and Composition 297
Musical Maturity 299
Rhythm 300
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Swing Feel and Note Placement 303
Accentuation 306
Parker’s Influence on the Rhythm Section 309
Harmony 312
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Chromatic Passing Tones 316

Melodic Contour 318
Chord Substitution 320
Blues Figures 322
Sound and Inflection 327
Conclusion 333

XII SUMMARY OF ANALYSIS OF SELECT SOLOS

FROM 1944 TO 1946 337

Review of Solos 337

continued

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 “Ready, Set, Jump” and “Oop Bop Sh’Bam” 337
“Red Cross” 339
Similarities 341
Differences 346
Conclusion 349

XIII MUSICAL ANALYSIS OF SELECT PARKER AND

STITT SOLOS ON “KO KO” 361

Introduction to “Cherokee” 362

“Cherokee” and Parker 363
“Cherokee” and Stitt 366
Introduction of “Ko Ko” 371

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“Ko Ko” and Parker 372
“Ko Ko” and Stitt 374
Compositional Characteristics 378
Form and Melody 378
Harmony
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Tempo and Difficulty 380
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XIV MUSICAL ANALYSIS OF CHARLIE PARKER’S
SOLO ON “KO KO” (1945) 383

Introduction 383
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Recording and Composition 384

First Solo Break 387
Second Solo Break 391
Phrasing and Accentuation 397
Form 399
Sequences 403
Prepared Material 408
Quotations 411
Note Placement and Swing Feel 412
Harmony 415
Timbre 421
Conclusion 425

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 XV MUSICAL ANALYSIS OF SONNY STITT’S SOLO
ON “KO KO” (1963) 430

Introduction 430
Recording 432
Composition and Form 434
Solo Breaks 435
Phrasing and Rhythm 441
Blues and Quarter-Note Figures 446
Harmony 453
Harmony and Form 457
Chromaticism 461
Vocabulary 465

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Sequences and Quotes 471
Accentuation 476
Note Placement and Swing Feel 478
Timbre 481
Conclusion
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XVI CONCLUSIONS 486

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Summary of Problem 486

Stitt’s Career 487
Stitt’s Critics 493
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Musical Analysis 497

Additional Conclusions 500
Implications for Further Study 510

BIBLIOGRAPHY 513

APPENDICES 532

A SONNY STITT’S SOLO ON “READY, SET, JUMP”

(1944) 532

continued

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B SONNY STITT’S SOLO ON “OOP BOP SH’BAM”
(1946) 533

C CHARLIE PARKER’S SOLO ON “RED CROSS”

(1944) 534

D CHARLIE PARKER’S SOLO ON “KO KO” (1945) 536

E SONNY STITT’S SOLO ON “KO KO” (1963) 542

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 LIST OF MUSICAL EXAMPLES

1 Opening of the Stitt and Nicholas’s solos on “Ready, Set

Jump” 250

2 Stitt’s use of timbral inflection in “Ready, Set, Jump” 251

3 End of Stitt’s solo in “Ready, Set, Jump” 252

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4 Stitt’s use of chord tones on “Ready, Set, Jump” 254

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Stitt’s use of ninths in “Ready, Set, Jump” 255

6 Opening of trumpet solo in “Ready, Set, Jump” 257

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7 Opening of Stitt’s solo in “Ready, Set, Jump” 258

8 Changes in melodic contour in Stitt’s “Ready, Set, Jump”

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solo 262

9 Stitt’s use of wide leaps and stepwise motion in “Ready

Set, Jump” 262

10 Introduction to “Oop Bop Sh’Bam” 272

11 Stitt’s use of sixteenth notes in “Oop Bop Sh’Bam” 1 273

12 Stitt’s use of sixteenth notes in “Oop Bop Sh’Bam” 2 273

continued

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13 Accentuation of sixteenth notes in Stitt’s “Oop Bop
Sh’Bam” solo 274

14 Accentuation of eighth notes in Stitt’s “Oop Bop Sh’Bam”

solo 275

15 Gillespie’s long sixteenth-note phrase on “Oop Bop Sh’Bam” 277

16 Clarity and precision in Stitt’s “Oop Bop Sh’Bam” solo 277

17 Thematic discontinuity in Stitt’s “Oop Bop Sh’Bam” solo 281

18 Midpoint of Stitt’s solo in “Oop Bop Sh’Bam” solo 282

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19 Stitt’s targeting of thirds on “Oop Bop Sh’Bam” 283

20 Stitt’s use of melodic and rhythmic contour in “Oop Bop

Sh’Bam”
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21 Stitt’s use of chromaticism in “Oop Bop Sh’Bam” 285

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22 Five-note figure in Stitt’s solo in “Oop Bop Sh’Bam” 286

23 Stitt’s use of a five-note figure in “Oop Bop Sh’Bam” 287

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24 Blues-inflected line in Stitt’s solo in “Oop Bop Sh’Bam” 288

25 Stitt’s solo and bridge melody in “Oop Bop Sh’Bam” 289

26 Parker’s rhythmic ideas in his “Red Cross” solo 301

27 Parker, Hart, and Grimes solo on the B section in “Red Cross” 302

28 Parker’s changing note placement in “Red Cross” 1 304

29 Parker’s changing note placement in “Red Cross” 2 304

continued

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30 Parker’s changing note placement in “Red Cross” 3 305

31 Parker’s changing accent placement in “Red Cross” 306

32 Parker’s changing accent placement in “Red Cross” (detail) 307

33 Parker’s use of accent patterns in “Red Cross” 308

34 West’s changing drum pattern in Parker’s “Red Cross” solo 311

35 Parker’s use of chord tones in “Red Cross” 313

36 Parker’s use of double-time in “Red Cross” 314

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37 Parker’s use of double-time in “Red Cross” (detail) 315

38 Parker’s use of chromatic passing tones in “Red Cross” 317

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39 Wide leaps in Charlie Parker’s “Red Cross” solo 318
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40 Parker’s insertion of fast notes in “Red Cross” 319

41 Parker’s use of chord substitution on the bridge of “Red

Cross” 320
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42 Parker’s use of bluesy material in the A sections of “Red

Cross” 323

43 Parker’s use of blue thirds in “Red Cross” 325

44 Parker’s use of blue thirds in “Red Cross” 2 325

45 Parker’s embedding of a blues figure in “Red Cross” 326

46 Parker’s use of air impulses on “Red Cross” 330

continued

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47 Parker’s use of ghost notes on “Red Cross” 331

48 Parker’s timbral changes on “Red Cross” 332

49 Parker’s use of vibrato in “Red Cross” 333

50 Stitt’s use of Parker motives on “Oop Bop Sh’Bam”

(ascending arpeggios) 343

51 Stitt’s use of Parker motives on “Oop Bop Sh’Bam”

(triplet ornaments) 343

52 Stitt’s use of Parker motives on “Oop Bop Sh’Bam”

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(connected chord arpeggios) 344

53 Stitt’s use of Parker motives on “Oop Bop Sh’Bam”

(chromaticism) 344
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54 Parker’s first eight-measure break in “Ko Ko” 388
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55 Harmony of Parker’s first solo break in “Ko Ko” 389

56 Melodic continuity in Parker’s “Ko Ko” 390

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57 Rhythmic discontinuity in Parker’s “Ko Ko” 391

58 Parker’s second eight-measure break in “Ko Ko” (1945) 392

59 Comparison of Parker’s solo break endings on “Ko Ko” 393

60 Implied chord progression of Parker’s second solo break

on “Ko Ko” 394

61 Chromatic superimposition in Parker’s second break on

“Ko Ko” 1 395

continued

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62 Chromatic superimposition in Parker’s second break on
“Ko Ko” 2 396

63 Parker’s approach to phrasing in his “Ko Ko” solo 398

64 Beginning of first chorus of Parker’s solo on “Ko Ko” 400

65 Beginning of second chorus of Parker’s solo on “Ko Ko” 401

66 Beginning of Parker’s A sections in his “Ko Ko” solo 402

67 Beginning of B sections in Parker’s “Ko Ko” solo 403

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68 Parker’s use of sequences in his “Ko Ko” solo 1 404

69 Parker’s use of sequences in his “Ko Ko” solo 1 (detail)

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70 Parker’s use of sequences in his “Ko Ko” solo 2 406

71 Parker’s “Tea for Two” sequence in his “Ko Ko” solo 406
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72 Parker’s “Tea for Two” sequence in his “Ko Ko” solo

(detail) 407
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73 Parker’s use of sequences in his “Ko Ko” solo 3 408

74 Harmonic outline of the “Ko Ko” B section 410

75 Parker’s “High Society” in his “Ko Ko” solo 412

76 Parker’s note placement in his “Ko Ko” solo 414

77 Use of chromaticism in Parker’s “Ko Ko” solo 416

78 Unconventional use of chord tones in Parker’s “Ko Ko”

solo 417

continued

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79 Interior stepwise line and arpeggio in Parker’s “Ko Ko” solo 418

80 Aggressive chromaticism in Parker’s “Ko Ko” solo 419

81 Aggressive chromaticism in Parker’s “Ko Ko” solo (detail) 420

82 Timbral variation in Parker’s “Ko Ko” solo 1 424

83 Timbral variation in Parker’s “Ko Ko” solo 2 425

84 Drum pattern at opening of Stitt’s “Ko Ko” 435

85 Stitt’s first eight-measure break in “Ko Ko” solo 436

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86 Stitt’s second eight-measure break in “Ko Ko” 437

87 Harmony of Stitt’s second solo break in “Ko Ko” 438

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88 Comparison of Parker and Stitt solo breaks on “Ko Ko” 439
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89 Harmonic substitution in Stitt’s first solo break on “Ko Ko” 440

90 Approach to phrasing in Stitt’s “Ko Ko” solo 441

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91 Twelve-measure line in Stitt’s “Ko Ko” solo 443

92 On-the-beat phrasing in Stitt’s “Ko Ko” solo 444

93 Off-beat triplet arpeggios in Stitt’s “Ko Ko” solo 445

94 Syncopation and anticipation in Stitt’s “Ko Ko” solo 446

95 Accented high note in Stitt’s “Ko Ko” solo 447

96 Melodic and rhythmic contrast in Stitt’s “Ko Ko” solo 448

continued

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97 Diatonic quarter notes in Stitt’s “Ko Ko” solo 450

98 Contrast across multiple sections in Stitt’s “Ko Ko” solo 451

99 Approach to harmony in Stitt’s “Ko Ko” solo 1 453

100 Approach to harmony in Stitt’s “Ko Ko” solo 2 455

101 Harmonic displacement in Stitt’s “Ko Ko” solo 456

102 A section endings in Stitt’s “Ko Ko” solo 458

103 End of choruses in Stitt’s “Ko Ko” solo 459

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104 Similar figures in Parker and Stitt’s “Ko Ko” solos 460

105 Chromaticism in Stitt’s “Ko Ko” solo 461

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106 Chromatic passage in Stitt’s “Ko Ko” solo 462
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107 Chromatic segments in Parker and Stitt’s “Ko Ko” solos 464

108 Vocabulary in Parker and Stitt’s “Ko Ko” solos 1 465

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109 Vocabulary in Parker and Stitt’s “Ko Ko” solos 2 466

110 Vocabulary in Parker and Stitt’s “Ko Ko” solos 3 467

111 Vocabulary in Parker and Stitt’s “Ko Ko” solos 4 468

112 Eighth-note triplet figure in Parker and Stitt’s “Ko Ko”

solo 469

113 Downbeat pattern in Stitt’s “Ko Ko” solo 470

114 Short sequence in Stitt’s “Ko Ko” solo 471

continued

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115 “Tea for Two” sequences in Parker and Stitt’s “Ko Ko”
solos 472

116 Rhythmic sequence in Stitt’s “Ko Ko” solo 473

117 Rhythmic sequence in Stitt’s “Ko Ko” solo 2 474

118 “Cherokee” quote in Stitt’s “Ko Ko” solo 1 475

119 “Cherokee” quote in Stitt’s “Ko Ko” solo 2 475

120 Stitt’s approach to accentuation of his “Ko Ko” solo 477

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121 Comparison of accentuation in Parker and Stitt’s “Ko Ko”
solos 478

122 Stitt and Kay, return of the “Ko Ko” theme 479
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123 Behind-the-beat playing in Stitt’s “Ko Ko” solo 480
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 CHAPTER I

RESEARCH OBJECTIVE

Introduction

The 1940s brought about sweeping changes in American popular music.

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While big band swing was at the height of its popularity, a new revolutionary
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style of music was developing. Big band swing was a dancer-driven form of

musical entertainment, but the new style—bebop—offered a self-consciously

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modern, artist-driven approach. Bebop’s pioneers included musicians like

saxophonist Charlie Parker, trumpeter Dizzy Gillespie, pianists Bud Powell and
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Thelonious Monk, and drummer Kenny Clarke, who engaged in small group

experiments in afterhours New York City jam sessions. While the bebop pioneers

worked to establish the shape of the new music, it spread by word of mouth,

radio, and a handful of early recordings throughout the United States and abroad.

As bebop traveled to new locations, it attracted other musicians who were

excited by what they heard and eager to become practitioners of the art form.

Young musicians especially were drawn to bebop. In the mid-1940s, many young

musicians moved to New York to experience and participate in the city’s vibrant

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music scene. These musicians brought their own influences and personalities to

the music, which soon developed in new and unexpected directions.

Musicians associated with bebop early on, like trumpeter Miles Davis and

drummer Art Blakey, were leading their own groups by the 1950s. A second wave

of musicians—consisting of players like bassist Charles Mingus and tenor

saxophonists Sonny Rollins and John Coltrane—followed soon after. These

young musicians were influenced by the bebop pioneers; and after moving to New

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York City, they began to work alongside them. Through the musical opportunities
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they received, the early bebop practitioners matured as artists and created their

own distinctive styles that would determine the direction of jazz music in the
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1960s and beyond.

Saxophonist Sonny Stitt was one such early practitioner. Stitt moved to
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New York City between 1944 and 1945. This coincided with the rise of bebop,

which had been developing in the city for a number of years and was by then in

full swing. Stitt’s talents on the saxophone were quickly recognized. While still in

his early twenties, Stitt began working in the bands of leading jazz artists

alongside talented young musicians like himself. The mid-1940s were fruitful

years for Stitt. By the end of the decade, Stitt had performed or recorded with

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bebop pioneers Dizzy Gillespie, Max Roach, Kenny Clarke and Bud Powell, and

was recognized as a master of the style in his own right.

Critics took note of Stitt early on, but remarked that his playing style

seemed modeled after saxophonist Charlie Parker, a bebop pioneer and one of the

leading figures of the new music. This critical evaluation first appeared in the

mid-1940s. It would stay with Stitt throughout his career.

After his early years in New York City, Stitt began work as a solo artist,

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forming his own ensembles and continuing to perform with Gillespie and other
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high-profile musicians. He was tireless, adopting an intense schedule of live

performance, touring, and recording that he maintained until his death in 1982.
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The comparison to Charlie Parker persisted, however, and eventually became the

prevailing assessment of Stitt’s work. Stitt was categorized as a leading bebop

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practitioner in the mold of Charlie Parker, and not as an innovator in his own

right.

Not everyone agreed with this critical consensus. While musicians and

critics—even sympathetic ones—often drew comparisons between Stitt and

Parker, some defended Stitt’s approach to improvisation as unique. For instance,

musicians close to both saxophonists noted Stitt’s similarity to Parker, even as

they praised Stitt and hired him in their bands. Numerous musicians spoke highly

3
of Stitt’s skills as a saxophonist and improviser; and younger players cited Stitt as

a mentor and influence on their own musical development. Stitt also disagreed

with the critical consensus and responded to his critics in print. In recorded

interviews, he denied copying Charlie Parker and objected to his characterization

as a Parker imitator in the jazz press.

The Stitt-Parker literature has attracted some academic attention but has

yet to be the subject of sustained analysis. Although a great deal has been written

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about Stitt in general, and much has been written about the question of Stitt’s
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relationship to Parker in particular, to date no academic work has studied the

critical consensus (and departures from that consensus) in systematic detail.

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Longform analysis of Stitt’s recorded music is rare. Few academic works contain

comparative music analysis of Stitt and Parker solos. None compare the results of
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that analysis with the critical consensus directly.

Sonny Stitt was a well-known saxophonist who lived through a period of

great change in jazz history. He performed and recorded for over four decades,

enjoying visibility long after other bebop musicians had died, expatriated to Europe,

or otherwise disappeared from the American music scene. This study is an attempt

to take stock of this career to better understand Stitt’s critical reputation as a Parker

imitator.