Through recordings on Savoy and, with Dizzy Gillespie, on Musicraft, Stitt built a reputation as the closest thing to Charlie Parker on alto. He was not seen in person during the years of bebop's ascendancy because he was hospitalized for drugs. His first recording after his return was the 1949 session with J.J. Johnson on which he played tenor rather than alto and established himself as a more distinct personality. The sessions with Bud Powell present some of the most highly charged, dually inspirational collaborations ever recorded.
with Bud Powell, Curley Russell, Max Roach, John Lewis, Nelson Boyd