The Art Of Jazz - Zoot Sims

Ghost Of A Chance

Zoot Sims
The Art Of Jazz
Celebrity Jazz Series
Cover: Harry Farmlett & Barry Blum
Seeco CELP-4520
1960

From the back cover: I was an 18-year-old drummer with Joe Sander's band at the Hotel Syracuse that fall of '43. Ells Rishell, the journeyman alto-man, was raving about a kid with whom he had played in the swinging Bob Astor band out west. Astor never quite made it, but Ells said something like, "Man, that Jackie Sims with Bob's band really blows! What a tenor! All he ever talked about was getting with Goodman. That was his dream." Well, the dream came true, because not two weeks later I was watching Benny Goodman at the Hotel New Yorker where Krupa had just rejoined after a hassle out west. Punching out section work and spitting occasional solos was a narrow, baby-faced blond about 19, then known as "Jackie" Sims.

Three years later he was back with Benny at the NBC Studios in Hollywood backstopping the Victor Borge Show. This was a pretty sharp BG mob with Bellson drumming and Dick Mains on trumpet. Sims had grown up, physically and musically, but was essentially still a big-band, gutsy blower. (Oh yeah, by now they had hung the "Soot" on him for keeps).

The next time I heard him was with Woody from the Palladium in early '48. I missed him with his other name credit, Bobby Sherwood, but I guess he must've been in and out of Benny's band four times in all, about the same with Herman.

But he grew. He piled his trade, progressed and finally slipped into the modern field where he became a solid exponent with that fresh, reaching imagination. You'll hear a lot of it on these sides. I'm not going to pinpoint choruses or titles; you'll do it anyway. But Zoot fools you. Sure, he's modern jazz, but now and then you'll hear him with that soaring, liquid flow much like his old mentor, Goodman. Often you'll be aware of the electric, erratic Parker-influence. Occasionally – with his highs – he'll even remind you of Ted Nash and "Early Les." Always though, if you know Zoot's allegiance, you'll be aware – as he is – of his devotion to our late "President," Lester Young.

Zoot's in and out of small groups now; Gerry Mulligan's, Woody Herman's, his own. I caught him just a few months ago with Woody's bunch at the Metropole. Zoot was heavier, more confident and I think even more exciting in his maturity and the freedom of the combo idiom, which is how you'll appreciate him here. Meshing well with him is valve-trombonist Bob Brookmeyer, who – though he slid with Stan Getz and Mulligan – worked mostly on piano with McKinley, Prima, Wald and Herman. Flanking the pair is John (ex-Getz) Williams, old pro bassist Milt Hinton and former Basie-drummer, Gus Johnson. – Jack Denton

Jack Denton, musician, (drummer – name bands 1942-1945), writer, (Red Skelton and Milton Berle shows), disc-jockey, (Cleveland, Milwaukee, Hollywood), comedian, (NBC & ABC network), was kind enough to take time to write the above notes. His background as a jazz disc-jocks, musician and newspaper columnist certainly give him the qualifications to write, as above.
From Billboard - April 8, 1960: The indomitable tenor man works with a quartet of supporters here, including Bob Brookmeyer on valve trombone. Milt Hinton, Gus Johnson and John Williams are also heard in support. This is a helping of bold, brash, gutsy modern blowing with both Sims and Brookmeyer engaging in extensive soloing. Eight number include three Sims originals. Good cover and fine recording.

September In The Rain
Down At The Loft
Ghost Of A Chance
Not So Deep
Them There Eyes
Our Pad
Dark Clouds
One To Blow On