THE ETERNAL TRIANGLE is a prime example of hard-bop jazz.As it is ,this disc will mostly please jazz fans.It is of course impossible not to think of SATCHMO when someone hears ON THE SUNNY SIDE OF THE STEET and DIZZY GILLESPIE certainly knew it too.As for AFTER HOURS,mainly an overstreched blues and I KNOW THAT YOU KNOW an intriguing number that allows the two SONNYS to shine on their tenor saxs.Not the kind of record one plays often,so you can pass it out without feeling guilty ,even if the talent is not to be disputed.Without getting cynical,i would say that this is mainly a one piece session transformed in a 37 minutes record.

The tenor saxophone battle has a long and distinguished heritage in jazz. But it took leader Dizzy Gillespie to enable Sonny Rollins and Sonny Stitt to be able to have some fun. And for all the great saxophone blowing here, there's some phenomenal trumpet wailing too. The sound quality on this album is amazing. Every single song on this album make this album a must have. Ray Bryant's solo on After Hours is so bluesy and so smooth it is hard to touch. Having both Sonny Stitt AND Sonny Rollins on the same session is a good enough reason to buy this album and even though their techniques are both of modern jazz persuasion, their approaches can be quite dissimilar. And both symbolize two differing perspectives in current jazz improvisation. On the Sonny Side of the Street is just such a sweet little piece and you may be thinking What the heck is Dizzy doing singing? Don't worry he actually has a pretty good voice. But anyways, even if you are not familiar with any of these artists, but are into jazz this is a must have album.

[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 McHugh's "Sonnyside 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.]

or 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.

Gotta go along with all the other reviews. "The Eternal Triangle" is just one of those incredible mommments of genius that you just have to hear to belief! This is what jazz is all about.

Well..what are you waiting for? Buy this now!

This is among the best jazz albums of all time. It represents the best playing of both Stitt and Rollins, and Dizzy is always Dizzy. The arrangements are simple - a head, bridge, and then lots of solo space. The choruses between the Sonnys on Eternal Triangle remain my personal favorite rhythm changes solos and the stylistic vocalizing of Dizzy over the ever-artistic backgrounds by Stitt and Rollins on Sunny Side of the Street cannot be equaled.

Buy this album. Whether you are a serious or peripheral jazz fan, you will not be disappointed and you will end up listening to it over and over again.

one and a half milion versions of "sunny side of the street" are out today. After hearing this version I cast all others aside (sorry Ella).

Simply said, "The Eternal Triangle" will blow you away. Possibly the hottest 15 minutes of jazz I have ever heard. Dizzy was more then happy to let Sonny and Sonny dominate the majority of the recording. A wise decision, because they were both right on. The CD is a 5 with that track alone. Enough said.

This is one of the coolest jazz albums that I've ever heard. It is clear that the players enjoy playing with each other and do their best to make impressive improvisasions (And they sucsseed.). The best track in the album is, in my opinion, track no. 2:"The Eternal Triangle". Almost 15 minutes of fast, cool jazz. 15 minutes of 3 jazz geniuses that try to win in a fast-running improvisasion copetition. Gillespie's trumpet is running wild in a crazy impro, and you love every minute of it.
It is truly a must in any Jazz collection.

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!

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.

This is definately one of my favorite jazz records ever. All three of these men have almost completely different ideas about how jazz should sound, and yet somehow when they come together, they blend so well that it brings tears to my eyes. This is a must have for any jazz lover.

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.

this disc still smokes.it has fire and drive.unlike todays collaborations each artist truly gets something out of one another.a pure classic.

as a jazz musician (saxophones) music makes me thrill. when i listen to "sonny side up" i realise that the greatest players don't have to be techincly geniouses to make you listen to them, they have to thrill you. in this album i get thrill every time i listen to those three geniouses: dizzy, sonny stitt& sonny rollins. the groove you feel in the background of the music, is so hard that it makes you just move and smile. i specialy like the first song "on the sunny side of the street" by jimmy mchugh, where stitt plays so cool and and dizzy sings so cool too. also i like rollins's solo on the last song "i know that you know". you must listen to it. matti.s.

Can't say it any better than the other review, this is a must have for any jazz fan!

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.