Requisites

Zoot ~ Zoot Sims Quartet | By Eddie Carter

I’d just completed a long week and wanted to hear something soothing after dinner. I chose Zoot (Argo LP 608), a 1957 album by The Zoot Sims Quartet. John Haley Sims was born in Inglewood, California and began playing the clarinet and drums at an early age. By age thirteen, he started the tenor sax and later joined the big bands of Kenny Baker, Bobby Sherwood, and Benny Goodman. He got his nickname Zoot while playing with Kenny Baker and later gained attention in Woody Herman’s orchestra as one of the four brothers’ sax section. The personnel on this date are Zoot Sims on alto sax (track: B3) and tenor sax (A1 to B2, B4), Johnny Williams on piano, Knobby Totah on bass, and Gus Johnson on drums. My copy is the 1975 Japanese Mono reissue (Cadet MJ-1013M).

The first side opener, 9:20 Special by Earle Warren, begins with the quartet’s delightfully relaxing melody. Zoot is the first to whet the listener’s appetite in the opening reading. Johnny takes the baton for a light-hearted solo next. Knobby follows with a few well-placed bass notes, and Gus shares the finale with Zoot in a short conversation ahead of the theme’s reprise. The Man I Love by George and Ira Gershwin opens with the rhythm section’s tasteful background accompanying Zoot’s tenderly warm tone in the opening chorus and the saxophonist’s first reading. Johnny is equally thoughtful and sensitive in the following interpretation. Zoot adds a few soothing last thoughts, like gentle raindrops hitting the ground, into a mellow ending.

55^th and State, an original by Zoot Sims, moves the beat upward to a medium bounce for the ensemble’s theme. Zoot leads off with an inspired improvisation, then passes the torch to Johnny, who follows with a rousing performance. Gus wraps up the finale, sharing a lively conversation with Zoot, leading to the theme’s return. Blue Room by Richard Rodgers and Lorenz Hart is an old show tune from the twenties. The quartet rises to the occasion, getting into an infectious groove on the melody. Zoot rolls out ideas effortlessly in the opening statement. Johnny extends the joyous mood in the following interpretation, and then Gus engages in a short exchange with Zoot, leading to the ending theme and conclusion.

Side Two begins with Gus’s Blues, an original by Gus Johnson that Johnny introduces, segueing to the foursome’s easygoing melody. Zoot sets a swinging groove on the opening performance. The pianist follows the leader with a bright, bouncy interpretation, and then the saxophonist returns for a closing presentation that disappears into nothingness. The group takes on another old chestnut with their rendition of That Old Feeling by Sammy Fain and Lew Brown. After the quartet establishes the opening ensemble, Zoot launches into one of his best solos on the album. Johnny responds with a compelling reading, and then the saxophonist delivers the last word in a short sermon before the group takes the song out.

Zoot switches to alto sax for Oscar Pettiford’s Bohemia After Dark. It’s a swinger from the word go, and this point is emphasized when the saxophonist takes charge during the foursome’s theme. Zoot continues cooking with confidence on the lead solo. Johnny meets the challenge head-on in a concise presentation, then turns it back over to Zoot, who delivers the knockout punch preceding the brisk reprise and climax. The closing track is Woody ‘n’ You, Dizzy Gillespie’s tribute to Woody Herman that takes off with the quartet’s brisk theme. Zoot opens with an enthusiastic performance. Johnny matches him in agility on the following statement. Knobby has a short stint next, and then Zoot and Gus share the exclamation point before the theme reprise and finale.

Dave Usher produced the album, but it’s unknown who the recording engineer was for the session. The album’s sound quality possesses a solid soundstage despite a minor issue during Knobby’s bass solo on Woody ‘n’ You, where the bass sounds distorted; the remainder of the album is excellent. Zoot Sims’s successful career as a leader and sideman lasted forty years, recording on various labels with many exceptional jazz musicians. He passed away from lung cancer on March 23, 1985, at the age of fifty-nine. If you’re a fan of Cool Jazz, I offer Zoot by The Zoot Sims Quartet for your consideration on your next record-shopping trip. This album of originals and standards is superbly performed and should become a welcome addition to your library!

~ That Old Feeling, The Man I Love, Woody ‘n’ You – Source: JazzStandards.com ~ Blue Room – Source: Wikipedia.org © 2024 by Edward Thomas Carter

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Jazz Poems

From WRITTEN TO MUSIC EIGHT FOR ORNETTE’S MUSIC If the pain is greater than the difference as the bird in the night or the perfumes in the moon oh witch of question oh lips of submission in the flesh of summer the silver slipper in the sleeping forest if hope surpasses the question by the mossy spring in the noon of harvest between the pillars of silk in the luminous difference oh tongue of music oh teacher of splendor if the meat of the heart if the fluid of the wing as love if birth or trust as love as love time turns the tables the indifferent and blissful Spring saves all souls and seeds and slaves asleep dark Spring in the dark whispering human will words spoken by two kissing tongues hissing union Eve’s snake stars come on two naked bodies tumble through bodiless Christmas trees blazing like bees and rosebuds fire turns to falling powder lips relax and smile and sleep fire sweeps the hearth of the blood on far off red double stars they probate their own tied wills KENNETH REXROTH

from Jazz Poems ~ Selected and Edited by Kevin Young

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YOLANDA RABUN TRIBUTE TO NANCY WILSON

For two nights only the holiday season will honor the contributions of songstress Nancy Wilson as songs are interpreted by the great North Carolina-based singer Yolanda Rabun, while the story of her life is told by Jazz Historian Carl Anthony.

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Requisites

Kelly Blue ~ Wynton Kelly Trio and Sextet | By Eddie Carter

This morning’s record from the library is Kelly Blue (Riverside Contemporary Series RLP 12-298/RLP 1142) by The Wynton Kelly Trio and Sextet. It hit the stores in 1959 and was his second release as a leader on the label after Piano a year earlier. Wynton Kelly was an accomplished hard-bop pianist and accompanist who collaborated with many elite musicians and vocalists over his career, appearing on some of the most unforgettable jazz albums ever recorded. Here, he’s working with a superb supporting cast: Nat Adderley on cornet, Bobby Jaspar on flute, Benny Golson on tenor sax (tracks: A1, B2), Paul Chambers on bass, and Jimmy Cobb on drums. My copy is the 1982 Original Jazz Classics U.S. Stereo reissue (Riverside OJC-033).

Side One opens with the title tune, Kelly Blue, by Wynton Kelly. Bobby, Paul, and Jimmy introduce this mid-tempo blues with a three-instrument dialogue. The remaining ensemble joins in as the melody unfolds. Wynton begins the opening solo with a relaxing reading. Bobby exhibits some exciting twists and turns next. In the following presentation, Nat raises the temperature slightly with precise articulation. Benny delivers a gorgeous statement with a rich, warm tone as smooth as a sled on new snow before the close. Softly, As In a Morning Sunrise by Sigmund Romberg and Oscar Hammerstein II begins with the trio introducing the melody. Kelly sets the solos in motion with a performance that cooks. Chambers’s bass compliments him with a concise solo that is to the point ahead of the climax.

Green Dolphin Street by Bronislaw Kaper and Ned Washington is one of the prettiest jazz standards in The Great American Songbook. The trio gives this old favorite a lively sprucing up on the opening chorus, highlighting Wynton’s ability to captivate the listener in an impeccable performance until the closing ensemble returns. Side Two starts with Ann Ronell’s classic Willow Weep For Me. Chambers gets the nod and brings the song to life in a bluesy, slow-tempo introduction, and then Kelly and Cobb come in to complete the dreamy theme. The pianist opens with an effortlessly elegant solo. Paul expands on that feeling with reflective beauty next. Wynton has another memorable moment, leading to the finale.

Wynton Kelly’s Keep It Moving is an uptempo-blowing session that swings out of the gate with the front line returning for their second and final appearance. Wynton cuts loose on the opening solo vigorously. Benny takes his turn next and keeps the groove going, and then Nat turns in a captivating reading. Bobby makes the following point with a spirited statement. Paul has the last word with an excellent improvisation preceding the song’s conclusion. The trio wraps the album with Wynton Kelly’s Old Clothes. Kelly is up first after a leisurely melody with a light-hearted opening statement. Chambers makes his presence felt in the following reading. Cobb speaks with the leader in a concise conversation before the melody’s restatement.

Orrin Keepnews produced the session, and Jack Higgins was the recording engineer. The album’s sound quality is excellent, transporting the musicians to your listening room as if they were playing before you. Wynton Kelly was also a talented composer, and the level of good spirits demonstrated by him and his colleagues here is incredibly endearing. Kelly Blue is an album characterized by the pianist’s contagious enthusiasm, with everyone in top form. The music will also keep you hooked from start to finish. On your next record-shopping trip, I invite you to check out Kelly Blue by The Wynton Kelly Trio and Sextet. It’s not just a great album; it’s an excellent introduction to his music and a must-listen for any jazz enthusiast!

~ Piano (Riverside RLP 12-254) – Source: Discogs.com

~ On Green Dolphin Street, Willow Weep For Me – Source: JazzStandards.com

~ Softly, As In a Morning Sunrise – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Jazz Poems

LADY SINGS THE BLUES

Satin luscious, amber Beauty ceter-stage;

garden in her hair. If flowers could sing

they’d sound like this. That legendary scene:

the lady unpetals her song, the only light

in a room of smoke, nightclub tinkering

with lovers in the dark, cigarette flares,

gin & tonic. This is where the heartache

blooms. Forgot the holes

zippered along her arms. Forget the booze.

Center-stage, satin-tongue dispels a note.

Amber amaryllis, blue chanteuse, Amen.

If flowers could sing they’d sound like this.

                         *     *     *

This should be Harlem, but it’s not.

It’s Diana Ross with no Supremes.

Fox Theater, Nineteen Seventy-something.

Ma and me; lovers crowded in the dark.

The only light breaks on the movie-screen.

I’m a boy, but old enough to know Heartache.

We watch her rise and wither

like a burnt-out cliche. You know the story:

Brutal lush. Jail-bird. Scag queen.

In the asylum scene, the actresses’s eyes

are bruised; latticed with blood, but not quite sad

enough. She’s the star so her beauty persists.

Not like Billie fucked-up satin, hair museless,

heart ruined by the end.

                         *     *     * The houselights wake and nobody’s blue but Ma.

Billie didn’t sound like that, she says

as we walk hand in hand to the street.

Nineteen Seventy-something,

My lady hums, Good Morning Heartache,

My father’s in a distant place.

TERRANCE HAYES

from Jazz Poems ~ Selected and Edited by Kevin Young

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