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Interview with Zoot Sims
No full textInterview with Zoot Sims. Sims' wife is also present and is heard on the recording toward the end. The interview begins with Sims mentioning meeting Jimmy Rowles on Boylston Street near the University of Southern California. Sims discusses Central Avenue around 1945-1946 and going there prior to his U.S. Army service, Honey Murphy's on Central near Watts, jam sessions, playing with Barney Kessel in Hollywood, and with Herb Ellis and Harry Babasin at Kessel's, noting that Ross Russell was active, but Sims was not making records at the time, seeing the original Stan Kenton band at the Palladium, jamming on Central at the Avalon club, feeling at home on Central Avenue, intellectual versus lyrical players, whether he plays comfortable lines or hears a melody, the fun of hitting a note and not knowing where it will lead, his approach to improvising, his non-music work painting houses after Kenton and working with Lawrence Marable and Leroy Vinnegar during that time, how painting houses gave him time to think, cars he had, driving a convertible in the rain, his brother's 1931 Chevy, whether he admired Kenton, Howard Rumsey's admiration of Kenton, Kenton's conducting, Kenton disapproving of Sims' Murray Space Shoes, and Sims being unconcerned with Kenton's judgment of his music. There is a pause in the recording from 18:30 to 19:04, and the interview resumes with Sims discussing Kenton's talks about music, followed by another pause from 19:50-20:16. The interview resumes with a microphone check and discussion of logistics (this may be the actual beginning of the interview), after which Sims discusses Pontrelli's Ballroom, playing at Pontrelli's with Herbie Stewart, stock arrangements of "Mexican style" music there, and band members Jimmy Giuffre, Stan Getz, and Tommy DeCarlo, Gene Roland as the originator of the "Four Brothers" sound, Giuffre writing Four Brothers for Woody Herman, the three tenor plus baritone saxophone instrumentation, getting considerable work from Mexican music gigs, getting out of the Army in 1946 and joining Benny Goodman, Sims' being from Inglewood, California, the musicians' union prohibition on jam sessions, Bill Harris and the Cafe Society, knowing Art Pepper when he was young and playing in Pepper's band in 1953, Bill Russo's arrangements, playing with Lee Konitz, Dave Schildkraut, Bill Holman, Stan Levey, Conte Candoli, and Ernie Royal, having initially joined Benny Goodman's band in 1943, the 1950 Goodman band with Roy Eldridge and Toots Thielemans (noting Thielemans was not whistling in this setting), his experience of growing up in LA, segregation in the LA area, the war effort and factory work changing the city, people who would come to the Central Avenue scene, his impressions of Charles Mingus, Sims' band with Barney Kessel at the Band Box, a tip jar with Benzedrine and half a joint, the woman bouncer at the Band Box, being bored by playing alone, his record with Bucky Pizzarelli, playing saxophone exercise books with Al Cohn, Dave Frishberg's idolizing Sims and Cohn, the hard bop era and blues, Coleman Hawkins, Lester Young as a creative disrupter, getting to know young on the Birdland tour, Young's imprisonment and how it changed him, one's personality projected through one's tone, not being complacent, Sims' praise of his wife, Lester Young in the Billie Holiday / Teddy Wilson era, where Sims would go in a time machine, whether he teachers, young players and the unavailability of jam sessions as in Sims' youth, major big bands getting players out of colleges, his assessment of college-educated musicians, what future there is for musicians in schools, Gerry Mulligan and his sextet, hanging out with Mulligan in the Birth of the Cool era, bad times for jazz around 1950, the demise of big bands, working with Miles Davis, the West Coast sound, Shorty Rogers, the Lighthouse, Stu Williamson, Jack Montrose, Herbie Stewart and the first time Sims had an artichoke, driving in LA before the freeways, the Lockie music store, the LA streetcar system and the Red Car line, transferring between buses and streetcars, Sims' decision not to double on other instruments, Teddy Edwards on road work versus studio work, Chris Connors' praise of Zoot Sims, Stan Levey being replaced in the Kenton band by Mel Lewis, Sims' being one of the first to leave the Kenton band after a difficult European tour and leaving after a bus accident in Pennsylvania, and Kenton riding shotgun on the bus and what he was like to work with. The formal interview concludes, but Sims goes on to discuss two neighbors growing up -- Leonard Slye, who became Roy Rogers, and Lester Bollinder, who took in the future Marilyn Monroe as a foster child. Sims also discusses when he got his first saxophone and having a clarinet before that, playing in a band at Leuzinger High School, the musical background of this family, Sims' reiterating that "the whole joy of jazz is not knowing what's coming next until it comes, praise of Charlie Parker, believing that as a musicians "you're supposed to become you," and whether he saw Dizzy Gillespie and Charlie Parker at Billy Berg's club
THE BROTHERS
No full textTitre uniforme : [The Red door]Comprend : FOUR AND ONE MOORE / Gerry Mulligan ; Stan Getz, saxo-alto ; Brew Moore, Zoot Sims, Al Cohn, Allen Eager saxo-ténors ; Gene Ramey, contrebasse ; Charlie Perry, batterie - BATTLE OF THE SAXES / Al Cohn ; Stan Getz, saxo-alto ; Brew Moore, Zoot Sims, Al Cohn, Allen Eager saxo-ténors ; Gene Ramey, contrebasse ; Charlie Perry, batterie - FIVE BROTHERS / Gerry Mulligan ; Stan Getz, saxo-alto ; Brew Moore, Zoot Sims, Al Cohn, Allen Eager saxo-ténors ; Gene Ramey, contrebasse ; Charlie Perry, batterie - BATTLEGROUND / Al Cohn ; Stan Getz, saxo-alto ; Brew Moore, Zoot Sims, Al Cohn, Allen Eager saxo-ténors ; Gene Ramey, contrebasse ; Charlie Perry, batterie - THE RED DOOR / Zoot Sims ; Stan Getz, saxo-alto ; Brew Moore, Zoot Sims, Al Cohn, Allen Eager saxo-ténors ; Gene Ramey, contrebasse ; Charlie Perry, batterie - ZOOT CASE / Zoot Sims ; Zoot Sims et Al Cohn, saxo-ténors ; Kai Winding, trombone ; George Wallington, piano ; Percy Heath, contrebasse ; Art Blakey, batterie - TANGERINE / Schertzinger ; Zoot Sims et Al Cohn, saxo-ténors ; Kai Winding, trombone ; George Wallington, piano ; Percy Heath, contrebasse ; Art Blakey, batterie - MORNING EUN / Sims-Cohn ; Zoot Sims et Al Cohn, saxo-ténors ; Kai Winding, trombone ; George Wallington, piano ; Percy Heath, contrebasse ; Art Blakey, batterieBnF-Partenariats, Collection sonore - BelieveContient une table des matière
Hot-cool moderne
No full textComprend : Lust for life / Ensemble Thad Jones, groupe instr. - Sonnymoon for two / Quintette Sonny Rollins, groupe instr. - How do I love you / Quartette Zoot Sims, groupe instr. - Like someone in love / Quintette Sonny Rollins, groupe instr. - I got it, Thad (and that ain't bad) / Ensemble Thad Jones, groupe instr. - Hot and cool blues / Quintette Sonny Rollins, groupe instr. - Knotty pine / Quartette Zoot Sims, groupe instr. - Flamingo/If you were mine/I'm through with love/Love walked in : ballad medley / Ensemble Thad Jones, groupe instr.BnF-Partenariats, Collection sonore - BelieveContient une table des matière
JAZZ ALIVE - A NIGHT AT THE "HALF NOTE"
No full textTitre uniforme : [After you've gone]Titre uniforme : [It had to be you]Comprend : LOVER, COME BACK TO ME / HAMMERSTEIN II et ROMBERG ; Zoot SIMS, saxo-ténor - Al COHN, saxo-ténor - Mose ALLISON, piano - Nabil TOTAH, contrebasse - Paul MOTIAN, batterie - IT HAD TO BE YOU / KAHN et JOHNSON ; Zoot SIMS, saxo-ténor - Al COHN, saxo-ténor - Mose ALLISON, piano - Nabil TOTAH, contrebasse - Paul MOTIAN, batterie - WEE DOT / J.S. JOHNSON ; Zoot SIMS, saxo-ténor - Al COHN, saxo-ténor - Phil WOODS, saxoalto - Mose ALLISON, piano - Nabil TOTAH, contrebasse - PaulMOTIAN, batterie - AFTER YOU'VE GONE / CREAMER et LAYTON ; Zoot SIMS, saxo-ténor - Al COHN, saxo-ténor - Phil WOODS, saxoalto - Mose ALLISON, piano - Nabil TOTAH, contrebasse - PaulMOTIAN, batterieBnF-Partenariats, Collection sonore - BelieveContient une table des matière
From A to Z: The Musical Partnership of Al Cohn and Zoot SIMs
No full textAlvin Gilbert Cohn and John Haley “Zoot” Sims formed one of the most enduring musical partnerships in jazz history. Both tenor saxophonists were initially shaped by the style of Lester Young. Their partnership began in 1948 as members of Woody Herman’s Second Herd. Cohn’s exceptional arranging skills provided Cohn and Sims’ co-led group a distinct identity which set them apart from the many other two-tenor groups.
Following their time with Herman, they spent most of their careers based in New York. From 1959 until 1975, the Half Note acted as the headquarters for their quintet. Throughout their thirty-seven year partnership, they performed thousands of times across the United States. Together, they toured Canada, South America, Europe, and Japan. They performed with many key figures in jazz history, such as: Woody Herman, Stan Getz, Artie Shaw, John Coltrane, Gerry Mulligan, Bob Brookmeyer, Phil Woods, Hank Jones, among many others.
Despite their popularity among jazz enthusiasts and musicians, no comprehensive study exists detailing their careers. This dissertation illuminates their musical partnership by detailing their early years, tracing their joint activities, and exploring their recorded output, which includes nine studio albums, four authorized live albums, and numerous unofficial recordings
Estudo técnico e interpretativo do estilo de Improvisação do saxofonista ZOTT SIMS
No full textO presente trabalho é resultado de uma pesquisa artística que teve como objetivo o estudo teórico-prático do estilo de improvisação do saxofonista de Jazz Zoot Sims. Utilizando como principal ferramenta de estudo a produção de transcrições de solos improvisados e a consequente análise e execução musical das mesmas, foi possível perceber características interpretativas do solista, analisar suas escolhas melódicas em relação à harmonia, desenvolver minha proficiência técnica e absorver nuances de seu fraseado. Durante o processo de edição das partituras dos solos transcritos, ficou claro a possibilidade de anexa-los em um álbum de transcrições intitulado “Zoot Sims, Solos Transcritos”. Desta forma, este livro pode se tornar mais uma ferramenta de estudo para instrumentistas, saxofonistas, que busquem entender um pouco mais sobre o universo da improvisação jazzística, através dos solos improvisados deste saxofonista. No final do livro de transcrições é apresentado um anexo contendo patterns do Zoot Sims, como mais uma ferramenta de análise e estudo. A inclusão do artigo “O processo de transcrição de solos improvisados a partir de áudios”, que trata das formas de efetuar e resultados obtidos com esta prática, complementa este trabalho.The present work is the result of an artistic research that had as objective the theoretical- practical study of the style of improvisation of Jazz saxophonist Zoot Sims. Using as main study tool the production of transcriptions of improvised solos and the consequent analysis and musical execution of them it was possible to perceive interpretative characteristics of the soloist, to analyze his melodic choices in relation to harmony, to develop my technical proficiency and to absorb nuances of his phrasing. During the process of editing the scores of transcribed solos, it was clear the possibility of bring them together in a transcript album titled "Zoot Sims, Transcribed Solos". In this way, this book can become a further study tool for instrumentalists, saxophonists, who seek to understand a little more about the universe of jazz improvisation, through the improvised solos of this saxophonist. At the end of the transcript album there is an attachment containing patterns from Zoot Sims, as another tool for analysis and study. The inclusion of the article 'The process of transcribing improvised solos from audio', which deals with different ways of transcribing and the use of the transcriptions, complements this work
Highlights in Jazz Concert 024 – Salute to Zoot
No full textJack Kleinsinger presents Highlights in Jazz. The concert was held at NYU Loeb Student Center, Eisner and Lubin Auditorium, Wednesday, December 10th, 1975 at 8:00pm in cooperation with the NYU program board. Jack served as producer and master of ceremonies for the monthly series of concerts. Artists for the concert include Zoot Sims, Al Cohn, Joe Newman, George Duvivier, Roy Eldridge, Major Holley, Cliff Leeman, Ross Tompkins, Joe Venuti and Bucky Pizzarelli. Special guest: Gerry Mulligan, Mousey Alexander, Mose Allison, Lynn Roberts and Al Porcino.https://digitalcommons.unf.edu/kleinsinger/1025/thumbnail.jp
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