Wallace Roney's dilemma recalls that of Sonny Stitt in the '50s and '60s: his trumpet tone, timbre, approach, phrasing, and sound so closely mirror that of Miles Davis in his pre-jazz/rock phase that he's been savaged in many places for being a clone and unrepentant imitator. Stitt stopped playing alto for years because of his disdain of being labeled a Charlie Parker clone; Roney, on the other hand, played many of Miles Davis' parts on the 1992 tribute to the Birth of the Cool sessions, which was issued in 1993 as Miles Davis and Quincy Jones at Montreaux.
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