Nella variegata carriera di Zoot Sims, questo CD da tempo introvabile occupa uno spazio artisticamente non trascurabile anche se misconosciuto. Ha fatto bene la Delmark a ristampare, con tutte le sue alternative takes, questa seduta di registrazione del 1955,che lo vede impegnato al fianco del trombettista Hal Daniels.
Quest'ultimo compone ed arrangia la gran parte dei brani in scaletta, rivelando una penna ricca di inventiva e swing. Le due formazioni di ampio respiro assecondano al meglio i raffinati arrangiamenti, mettendo anche in luce i notevoli Bob Gordon al sax baritono e Dick Nash al trombone.
Improvvisando con il suo proverbiale swing rilassato, l'etereo sax tenore di Zoot Sims è la ciliegina sulla torta di un CD davvero avvincente. Le tredici tracce proposte esaltano in questa tappa misconosciuta del cool jazz le potenzialità di una penna ricca di sottigliezze e dal dinamico interplay. Si impone una musica raffinata, costruita con eleganza per valorizzare le varie voci solistiche. Se Daniels è la mente, ci pensa Sims a far volare gioiosamente lo swing grazie ad una straordinaria inventiva melodica e colloquiale.
Track Listing: The Way You Look Tonight; Nash-Ville; You Don't Know What Love Is; Compatability; The Way You Look Tonight ; Nash-Ville; You Don't Know What Love Is; Compatability; The Way You Look Tonight; Nash-Ville; Studio Chatter; Compatability; Nash-Ville.
Personnel: Hal Daniels: tromba; Dick Nash: trombone; Zoot Sims: sax tenore; Bob Gordon: sax: baritone; Paul Atkinson: pianoforte; Tony Rizzi: chitarra; Rolly Bundock: contrabbasso; Jack Sperling: batteria.
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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