I used to go to Rick’s then, Andy’s as well, and recall see Zoot and Al at the Jazz Showcase, a great performance.
Zoot always looked older than he was, hunched over a bit when he played, slightly swaying to the beat-can’t remember who accompanied him and Al, some of the local greats, I reckon.
His Pablo recordings with Jimmy Rowles, George Mraz and Mousy Alexander are shimmering things of beauty.
I dare anyone to ‘dislike’ his version of Dream Dancing..
An always recognisably gorgeous tone. And when the mood moved him, would sing!
Whitney Balliett, of course, captured it with his usual elegance:
“Sims began as an admirer of Coleman Hawkins and Ben Webster, and came later to Lester Young. His style involved elements of all three.
His tone in the middle register suggested Webster's, and he sometimes used Webster's descending tremolos.
Young's pale, old-moon sound came into view in Sims' high register.
Hawkins underlay his drive, his heat, his need to take the audience with him.
Sims was a consummate melodic improviser. The melody never completely disappeared. You sensed it, no matter how remote or faint; it moved behind the scrim of his sound.”
You’ve painted a lovely portrait of the great Zoot Sims, Mr. Coolman. There is something nice about an artist who finds their stylistic niche, who always plays with a nice sound, and who swings their ass off. It’s to Zoot’s credit that he didn’t succumb to pressures to “fuse” himself with new musical fads. He just stayed true to himself.
I saw Zoot perform only once, when they allowed a few of us students into one of those private jazz parties. Zoot was paired up with a drummer whom I now can’t recall, and jazz accordionist Frank Marocco. No bass player. Zoot seemed dubious at first about an accordion kicking bass. But Frank Marocco was as good as they come. They even burned through Cherokee with the accordion. It was amazing and totally swingin’ !!
Thanks for this great post. Zoot was indeed fantastic. I got to see him live once in LA with Shelly Manne’s trio with Frank Collett and Monte Budwig. It’s funny, as I type this I remember that the crowd there was also very sparse; of the course everyone sounded great and Zoot’s sound just filled the room. One last thing about Zoot - he must have also been a great reader because he plays on so many big / medium band sides where they needed a tenor player who could read, blend, and take great solos. In this regard, I would recommend the Bill Potts LP “The Jazz Soul of Porgy and Bess” on United Artists (now Blue Note). The section is Phil and Quill on altos, Zoot and Al on tenor, and Sol Schlinger on baritone. To my ears, this is the platonic ideal of a modern big band sax section. The ensemble playing from the perspectives of sound, execution, and swing has to heard to be believed. Finally, I recently grabbed the Moody CD’s 4A / 4B in a rush and didn’t realize that you were on them until I played them. They’re great and the engineer really captured your big swinging sound. Thanks and take care, David
I really do appreciate your writing. What a good lesson to learn, and one that applies across all fields. One thing I think of often is how, coming from my generation, I’ve learned a lot of music and lessons 2nd or 3rd hand. It doesn’t make them less valuable. It’s still the wisdom, and it’s what people do, naturally, given our life span is so short. I think of the Sonny Stitt story, and how you didn’t know any songs, but took it to heart.
I still work as a jazz musicians when it comes up, but I often work in all the American styles, blues and country, whatever. Still, if you’re good, you know the damn songs. You show up and give your best. The wisdom isn’t lost, the mentorship and effort endures.
They are all good. Listen to a few at random and you will hear what I mean. Check out an album called “Zoot Sims Soprano Sax” on the Pablo label. Find your favorite!
I have made a Zoot Sims playlist after reading this lovely piece a few days ago. In the eighties, I worked at Stanford University, and I became a close friend of Stan Getz through a series of circumstances. Zoot once described Stan as “a great bunch of guys!”. Stan was indeed a complex character, and I mostly enjoyed the company of a kind, witty, generous man, and a couple of dark times. I remember when Zoot passed away, March 23, 1985, as 3/23 is my birthday (1939). I was with Stan that day, and told him of my sadness in learning of Zoot’s passing. Stan burst into tears, and spoke movingly about Zoot, describing the man as you have, as a great player, and even better person. The Soprano Saxophone album is wonderful!
I took care of the sound at Ratso's for a few years, and at the Jazz Showcase for about 25 years. I heard a lot of sets at Rick's, and mixed a New Years Eve set there that featured Clark Terry and Johnny Hartmann for NPR. I got to hear a lot of Zoot, mostly with Al Cohn, and I heard you in a lot of rhythm sections. I especially loved Al and Zoot. Joe and I had in common that while we both dug Zoot a lot, Al was our main man. I remember Al's last gig there -- Zoot had just passed, and in tribute, Al played Johnny Mandel's lovely "Emily," which had in those years been Zoot's feature. Al was suffering himself, but he had so much heart, he stood there and swung his ass off for the entire set. It was a moment I'll never forget. He didn't make it downstairs from his room for the second set, and Joe took him to the hospital.
My work for Joe Segal, it was a "trade-out" -- I took care his sound in exchange (including giving him the sound system) in exchange for hearing some of the greatest musicians in the world, up close. Joe and I both loved Barry Harris's playing, and for years, neither of us missed a minute of his gigs. Together, I recorded and Joe produced several dozen "Jazz Alive" shows for NPR, and I recorded a lot more sets that are now in the archive of the LA Jazz Institute.
I used to go to Rick’s then, Andy’s as well, and recall see Zoot and Al at the Jazz Showcase, a great performance.
Zoot always looked older than he was, hunched over a bit when he played, slightly swaying to the beat-can’t remember who accompanied him and Al, some of the local greats, I reckon.
His Pablo recordings with Jimmy Rowles, George Mraz and Mousy Alexander are shimmering things of beauty.
I dare anyone to ‘dislike’ his version of Dream Dancing..
An always recognisably gorgeous tone. And when the mood moved him, would sing!
Whitney Balliett, of course, captured it with his usual elegance:
“Sims began as an admirer of Coleman Hawkins and Ben Webster, and came later to Lester Young. His style involved elements of all three.
His tone in the middle register suggested Webster's, and he sometimes used Webster's descending tremolos.
Young's pale, old-moon sound came into view in Sims' high register.
Hawkins underlay his drive, his heat, his need to take the audience with him.
Sims was a consummate melodic improviser. The melody never completely disappeared. You sensed it, no matter how remote or faint; it moved behind the scrim of his sound.”
What a beautiful picture you have painted. So fortunate you were to be on the scene at that time. Thank you for your thoughtful comments.
You’ve painted a lovely portrait of the great Zoot Sims, Mr. Coolman. There is something nice about an artist who finds their stylistic niche, who always plays with a nice sound, and who swings their ass off. It’s to Zoot’s credit that he didn’t succumb to pressures to “fuse” himself with new musical fads. He just stayed true to himself.
I saw Zoot perform only once, when they allowed a few of us students into one of those private jazz parties. Zoot was paired up with a drummer whom I now can’t recall, and jazz accordionist Frank Marocco. No bass player. Zoot seemed dubious at first about an accordion kicking bass. But Frank Marocco was as good as they come. They even burned through Cherokee with the accordion. It was amazing and totally swingin’ !!
Thanks, Steve. Interesting pairing with accordion! Feel free to call me Mr. Coolman. LOL!
Thanks for this great post. Zoot was indeed fantastic. I got to see him live once in LA with Shelly Manne’s trio with Frank Collett and Monte Budwig. It’s funny, as I type this I remember that the crowd there was also very sparse; of the course everyone sounded great and Zoot’s sound just filled the room. One last thing about Zoot - he must have also been a great reader because he plays on so many big / medium band sides where they needed a tenor player who could read, blend, and take great solos. In this regard, I would recommend the Bill Potts LP “The Jazz Soul of Porgy and Bess” on United Artists (now Blue Note). The section is Phil and Quill on altos, Zoot and Al on tenor, and Sol Schlinger on baritone. To my ears, this is the platonic ideal of a modern big band sax section. The ensemble playing from the perspectives of sound, execution, and swing has to heard to be believed. Finally, I recently grabbed the Moody CD’s 4A / 4B in a rush and didn’t realize that you were on them until I played them. They’re great and the engineer really captured your big swinging sound. Thanks and take care, David
Thanks, Dave. Good insight on Zoot. Thanks also for the kind words. 4A won a Grammy for best jazz instrumental album.
Well deserved - congrats. I love how Moody’s playing is so cliche free on standard tunes. He commands your attention with zero grandstanding.
Zoot Sims, indeed! His playing lives on in Harry Allen?
Bassist Christian McBride is doing the mentorship thing with his new band Ursa Major, fwiw.
I really do appreciate your writing. What a good lesson to learn, and one that applies across all fields. One thing I think of often is how, coming from my generation, I’ve learned a lot of music and lessons 2nd or 3rd hand. It doesn’t make them less valuable. It’s still the wisdom, and it’s what people do, naturally, given our life span is so short. I think of the Sonny Stitt story, and how you didn’t know any songs, but took it to heart.
I still work as a jazz musicians when it comes up, but I often work in all the American styles, blues and country, whatever. Still, if you’re good, you know the damn songs. You show up and give your best. The wisdom isn’t lost, the mentorship and effort endures.
Thank you for your thoughtful comments, Andy. You are wise beyond your years. I hope it will serve as a contagion for Gen Z-ers. Time will tell.
Thank you Todd
You always have such interesting information to share and I learn so much from you whenever I read your posts. I was lucky enough to see Zoot
Sims play in an outdoor concert with a big band. My teacher was the drummer. It was a great concert. Thanks so much for sharing❤️🎶🎶
I never realized he played sop as well. Any favorite recordings?
They are all good. Listen to a few at random and you will hear what I mean. Check out an album called “Zoot Sims Soprano Sax” on the Pablo label. Find your favorite!
I just saw that. Putting “soprano sax” in the album title always helps the search 😂 as opposed to burying one track amongst everything else tenor!
Beautifully written sir. Thank you.
Thank you, Jay, for taking the time to read it.
I have made a Zoot Sims playlist after reading this lovely piece a few days ago. In the eighties, I worked at Stanford University, and I became a close friend of Stan Getz through a series of circumstances. Zoot once described Stan as “a great bunch of guys!”. Stan was indeed a complex character, and I mostly enjoyed the company of a kind, witty, generous man, and a couple of dark times. I remember when Zoot passed away, March 23, 1985, as 3/23 is my birthday (1939). I was with Stan that day, and told him of my sadness in learning of Zoot’s passing. Stan burst into tears, and spoke movingly about Zoot, describing the man as you have, as a great player, and even better person. The Soprano Saxophone album is wonderful!
Yes, Zoot had a lovely sound on soprano.
I took care of the sound at Ratso's for a few years, and at the Jazz Showcase for about 25 years. I heard a lot of sets at Rick's, and mixed a New Years Eve set there that featured Clark Terry and Johnny Hartmann for NPR. I got to hear a lot of Zoot, mostly with Al Cohn, and I heard you in a lot of rhythm sections. I especially loved Al and Zoot. Joe and I had in common that while we both dug Zoot a lot, Al was our main man. I remember Al's last gig there -- Zoot had just passed, and in tribute, Al played Johnny Mandel's lovely "Emily," which had in those years been Zoot's feature. Al was suffering himself, but he had so much heart, he stood there and swung his ass off for the entire set. It was a moment I'll never forget. He didn't make it downstairs from his room for the second set, and Joe took him to the hospital.
My work for Joe Segal, it was a "trade-out" -- I took care his sound in exchange (including giving him the sound system) in exchange for hearing some of the greatest musicians in the world, up close. Joe and I both loved Barry Harris's playing, and for years, neither of us missed a minute of his gigs. Together, I recorded and Joe produced several dozen "Jazz Alive" shows for NPR, and I recorded a lot more sets that are now in the archive of the LA Jazz Institute.