Dan Morgenstern's ***** review of TUNEUP!, Down Beat (or, as it was known then, down beat), 6-22-72, reviewed in conjunction with Deter Gordon's THE JUMPIN' BLUUES (which Morgenstern gave 4.5 stars). Morgenstern was then the magazine' editor.
Two albums showcasing a pair of jazz' greatest saxophonists without frills or concessions to commercialism.
The Stitt, recorded just a few months ago, is an instant classic. One of the most frequently recorded of all jazz artists (perhaps THE most frequently recorded), Stitt must have made close to 100 LPs. TUNE UP! belongs with his half-dozen all-time best, up there with BURNIN', PERSONAL APPEARANCE, and STITT PLAYS BIRD.
No organs or Varitone devices get in the way here. It's just Sonny Stitt, in superb form, with a tailor-made rhythm section, playing a repertoire in which he is completely at home.
Stitt is such a master of his instruments that he can outplay most saxophonists without challenging himself. And he's a sly fox who knows every trick avalable to simulate passion and excitement. Thus, he never gives a bad performance - but there are times when he just coasts on his expertise.
When he's inspired, however - watch out! And here he surely is. "I Got Rhythm", the crowning glory of this LP, is not only a lesson in saxophone playing and ultimate swinging. but nearly 10 minutes of driving, emotion-filled, impassioned, and astonishingly inventive music-making. This is one for the desert-island collection.
Stitt has been called a "cold" player. Don't you believe it. Check out any track on this great record - the lovely warm balladry of "I Can't Get Started", the hot drive of the title track (a gigantic display of tenor prowess and a lesson in swing), or the moving "Blues For Prez and Bird" (Stitt's twin points of departure). Such playing is an emotional experience as well as a staggering display of virtuoso skill. Stitt has a lightening mind, and the lightening fingers and steel chops to realize instantly what comes into it.
The Messrs. Harris, Jones, and Dawson give Stitt whatever he could ask for in terms of support. They never let him down, not even for a split second, and when he changes gears, they are the perfect transmission. Harris also contributes some exceptional solo work (or rather, what would be exceptional from a less consistent player).
An auspicious ace of trumps in Cobblestone's first deal of new releases, boding well for the future of a label that has had the good sense of hiring Don Schlitten to produce.
...Gordon review...
These LPs are representations of men at work, something for the boys to listen to and learn from. Undiluted jazz music from mature masters who get better and better as time goees by. For twice, the real thing.
Other items of interest in this one issue, just for perspective: News of Kenny Clarke coming home to set up a US tour for the Clarke-Boland Big band (this never happened, did it?) & the Jones/Lewis Soviet Union tour; Interviews with Cannonball Adderly, Houston Person, Al Belletto, and Dexter Gordon; Record Reviews of: the Ayler Shandars (by John Litweiler), a UA 2-fer repackaging of Miles' Blue Notes. Frank Foster's THE LOUD MINORITY, Mahavisnu's THE INNER MOUNTING FLAME (another ***** review, this time by Joe Klee), Edgar Winter's WHITE TRASH; the infamous BLindfold Test where Ernie Watts mistakes Coleman Hawkins for Lester Young; Live performance reviews of Cecil Taylor (NYC) & Elvin Jones (Baltimore); a full-page advertisement for Gerry Mulligan's AGE OF STEAM (hey - if you still want to sell it so damn bad, how about KEEPING IT IN PRINT FOR LONGER THAN 20 MINUTES, HMMM?); and in the classifieds, ads for Savoy ("Send $0.10 in coin..."), a free Benny Goodamn discography, a solicitation for students by George Russell, and a box ad for "Anita O'Day Records", promoting ANITA O'DAY 1972.
I was 16, and it didn't get any cooler than this.
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