Dizzy and Two Sonnys—How Much Jazz Fun Do You Want to Have?

Stitt, Rollins, Gillespie and a rollicking trio add up to a

Recorded in 1957 and released in 1959 on Norman Granz's new Verve Record label, this makes a fitting debut for the new Verve Vault series produced by Verve exec Ken Druker. It arrived a while back along with a Antonio Carlos Jobim The Composer of Desafinado Plays and I'm finally getting around to writing about it Two more disparate albums from the Verve catalog I cannot imagine, which is why they made such a good choice to inaugurate the new Verve Vault series.

This is an old fashioned "cutting session" recorded at Nola Studio New York otherwise known as Nola's Penthouse on the Steinway Building's 17th floor) at 111 West 57th Street and you can bet the piano sound on this mono recording is particularly good. Perhaps that's a coincidence. Everyone's well mic'd and the recording quality is hardly "vintage".

These greats get together and tear the place apart. If you start on side 2 you'll get what the song title "After Hours" promises, a slow, bluesy number dominated by Ray Bryant's piano that may drive you to drink in a good way. The piano recording is tactile as hell and Bryant's right and left hands seem to be on different planets—and that's a compliment. Too much fun. Dizzy enters on muted trumpet pre-soaked in gin and everyone is having such a good time you get the idea that the the sax guys totally sit it out, but eventually and unmistakably Rollins joins in.

A studio guest or two taken by Sonny's playing reacts the way Dylan's did on "Rainy Day Women 12 & 35" adding to the informal, fun vibe. Stitt eventually jumps in too and Bryant takes the tune to its conclusion.

Speaking of Stitt and Rollins, if you want an analysis of their different playing styles read Nat Hentoff's annotation. The album concludes with "I Know That You Know", with Gillespie and Stitt just about blowing The Penthouse doors off.

If you start on side one, you get the standard "On the Sunny Side of the Street and then Stitt's "The Eternal Triangle", the album's only original.

Great sound—every instrument is well recorded and splendidly placed in the room (I doubt the word "mixed" would apply here), and so much fun, plus excellent Optimal pressing and it costs $27.98. Not among the most consequential jazz albums ever recorded or released but among the most fun you can have listening to these greats have a ball playing together! A treat!