The Scott Silbert Quartet: Dream Dancing

The year 2025 marks the centenary of the birth of John Haley Sims, known around the world by his singular nickname, Zoot, a colossus of the saxophone who left this world far too soon in March 1985. Yet even though Zoot's physical presence is absent, his insuperable spirit lives on via Dream Dancing, a marvelous tribute by saxophonist and Sims enthusiast Scott Silbert and his masterful quartet.

While there is no debating that there was only one Zoot Sims, a once-in-a-blue moon talent whose wealth of charming ad-libs and unequaled sense of timing and swing marked the gold standard for saxophonists of his generation and beyond, there are moments on Dream Dancing when Silbert sounds eerily akin to his idol, especially on his own composition, "Blues for Louise" (Sims, Zoot's wife). Although Silbert's sound is a bit heavier than vintage Zoot, closer to that generated by Sims in his later years, his timing is spot-on, his ad-libs precise enough to cause even the most enlightened Sims enthusiast to do a double-take.

There are thirteen songs in all, several of which Sims played often, and others that simply suit his style of swing. The standard "You Go to My Head" was a particular favorite, as were "Dream Dancing" (Sims even recorded an album by that name), "All Too Soon," "Louisiana," "Deep in a Dream" and "Shadow Waltz." He may or may not have played Willard Robison's "Round My Old Deserted Farm," Johnny Mandel's "Low Life" or J.J. Johnson's lively "Wee Dot," and may not have been on a first-name basis with Billy Strayhorn's graceful "Ballad for Very Tired and Very Sad Lotus Eaters," which is included here. Silbert plays tenor sax on every tune save one, switching to soprano on the easygoing "Someday Sweetheart."

"Blues for Louise" is a duet with bassist Amy Shook, one-third of the quartet's awesome rhythm section whose other members are brothers Robert Redd on piano and Chuck Redd on drums. Even though Sims performed with a large number of well-known and celebrated rhythm sections, it is unlikely that any of them were discernibly more proficient or empathetic than this threesome. Shook and the brothers Redd dwell in a delightful Sims groove on every number, lending Silbert keen and unflagging support.

As for Silbert, he pledges his enduring allegiance to Zoot Sims on every number, thus reanimating the heart and soul of one of the most charismatic and creative jazz saxophonists who ever lived. Zoot would have loved this, and it's a pretty sure bet that you will too.

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