Zoot Sims on Prestige (III)

Let's do a little history to understand why "Zoot Sims on Prestige" shows a "Zoot Sims on Status":

The Prestige story began with Bob Weinstock, a young entrepreneur who was running the Jazz Record Corner — a record shop catering to devotees of jazz. It was there in 1948 that Bob conceived of the idea of traveling overseas during or before the recording ban that year to obtain new jazz recordings to bring to the United States. Bob contracted for at least four singles. These were released on his own Jazz Corner label —– the first of his record labels.

As 1949 began, Weinstock sought to expand his record pressing outlet beyond the local level. As he supervised the recording of new music, he was in the process of securing distribution arrangements. In July he rolled out the New Jazz label. Within a little over a year, New Jazz had become Prestige Records.

Prestige received its legendary status as a record label in part because of Weinstock’s demand for an “authentic” and fresh jazz sound and in part because of engineer Rudy Van Gelder.

By the end of 1963, with many of his artist signings having moved on and up to majors, Weinstock turned his attention to the re-issue of older New Jazz and Prestige titles of those now big names, through the short-lived Status label. Status picked up the New Jazz catalogue numbering system at 8300, but with the prefix ST. The same numbers but with the prefix NJLP was used for completely different recordings. Surplus stocks of New Jazz covers would be given a Status sticker, and the recording issued with a Status label.

Zoot Sims' recordings appeared under three labels: Prestige, New Jazz and Status, as is the case with the following album:

Zoot Sims

Good Old Zoot

A 60s compilation of some of Zoot's great work during the 10" days at Prestige (Chubby Jackson & His All Stars Band Plays and Zoot Sims In Hollywood — back when he was playing with a bit more fire than in some of his later work. Half the tracks are cut with a small group that includes Kenny Drew and Stu Williamson — and the other half are cut with a larger group led by Chubby Jackson, and featuring Howard McGhee, JJ Johnson, Georgie Auld, and Gerry Mulligan. Tracks include "So What", "Toot No 2", "Howdy Podner", "Flyin The Coop", and "Hot Dog".  *Dusty Groove, Inc.*

About Chubby Jackson & His All Stars Band Plays:

The style of Chubby's big band would be echoed throughout the 50's and 60's in the bands of Woody Herman, Elliot Lawrence, Gene Krupa, Count Basie and Gerry Mulligan. The actual recording, the first big band date recorded by Prestige was done in the old Cinemart studios in New York City. The studio was so small that the trumpet section had to face the wall to make for a better balance. At the time of the session, Georgie Auld owned a bar and jazz club called Tin Pan Alley in the basement of a hotel on 49th Street. The club was a favorite oasis for Zoot Sims, Gerry Mulligan and J.J. Johnson among others and everybody would come by to jam. 

At the date Mulligan remarked how loose he felt when working with Zoot. Certainly the loose feeling permeated the entire session as Auld, Jackson and Don Lamond fooled around with one of those fake nose and glasses disguises and Chubby kicked off the time in his stocking feet! 

The date was the second recording of J. J. Johnson and Kay Winding in tandem, the first being a Metronome All-Star session in January 1949. The Tiny Kahn charts were a constant topic of conversation and the band which Jackson had led in early 1949 had played most of them, some under different titles, at Bop City and The Royal Roost.

It is interesting to note that on this LP, Chubby Jackson does not do much solo playing. This is unusual but again it emphasizes Jackson's role as an organizer. He had musical talent as well as the ability to get good men into good places. Valuable contributions to the American Art Form and contributions that both listeners and historians alike can be grateful for. *Ernie Edwards, Jr. (February 1969)*

[Note: The album Chubby Jackson & His All Stars Band Plays contains more songs than those presented in this compilation. We will include them in future posts in this series, dedicated to Zoot Sims' presence on Prestige as a sideman.]

About Zoot Sims In Hollywood:

Like most young tenormen of the post-war period, Zoot Sims was largely affected by the Lester Young influence. Everybody who was anybody sounded like Lester or tried to. With Zoot it was even more so; he sounded exactly like Pres. Almost ten years have passed since then and a great number of Young imitators have come and gone with Little or no fanfare; most came to the inevitable end of the musically unoriginal. But with Zoot it was different; he had a lot more than a superficial grasp of Lester approach. Zoot was able to absorb the Great Influence without subverting his own individuality. Today Zoot is a highly original artist well steeped in the heritage that Lester Young contributed to the modern jazz musician. Zoot's conception stands firm and mature; the importance of the basic time feeling… above all else… it must swing! And with Zoot it always does. Emotion and the jazz beat are never sacrificed. The musical voice of Zoot Sims is so vibrant and brilliant that he must eventually be acknowledged as the great tenor influence of the fifties for he is the successful extention of the most forceful influence modern jazz has been: The Lester Young Conception.

Featured here with Zoot, is ex-Kenton and Herman sideman, Stu Williamson. For the first time on record Stu is heard playing both trumpet and valve trombone. The facility with which he handles these instruments well compliments Zoot work. At the keyboard is one of them all — Kenny Drew. No les effective as a soloist, his main function here is that of sparking the group. Kenny gained national prominence several years ago as a member of the great Buddy De Franco Quartet. Ever since he's been a highly sought after pianist for any group desiring a savagely swingin' beat. Rounding out the rhythm section is drummer Jimmy Pratt and bassit Ralph Pinia. Jimmy was a member of the Zoot Sims–Johny Mandel Group that delighted Coast jazz fans last winter during their successful stay at the Haig. Ralph's excellent choice of notes and pulsating time hold the group firmly in the groove.

Here is a group composed of five compatible jazz musicians and recorded under very favorable conditions at one of the finest rocording studios available, Hollywood's Radio Recorders. The engineer was Val Valentine, who records a great percentage of the better jazz eminating from Southern California. The entire precedings, from rehersal to final take, was supervised and directed by Dick Bock: His reputation is well known. It seems impossible to conceive of a better combinations of elements. The only thing left is how it turned out; take a listen and draw your own conclusions. You won't be disappointed. *Woody Woodward (original liner notes)*

Side 1

1 - Howdy Podner

(Bill Holman)

2 - Indian Summer

(Al Dubin, Victor Herbert)

3 - Leavin' Town

(Jarvis, Meissner)

4 - Flyin' The Coop

(Kahn)

Side 2

5 - Toot No. 2

(Bill Holman)

6 - What's New

(Johnny Burke, Bob Haggart)

7 -Hot Dog

(Zoot Sims)

8 - So What

(Gerry Mulligan)

#1, #2, #5, #8:

from Zoot Sims In Hollywood [New Jazz (NJLP-1102)]

Stu Williamson (trumpet, valve trombone), Zoot Sims (tenor sax), Kenny Drew (piano), 

Ralph Pena [as Ralph Penna or Ralph Pinia in liner notes] (bass), Jimmy Pratt (drums).

Recorded at Radio Recorders, Hollywood, California, July 16, 1954

#3,#4, #7, #8:

from Chubby Jackson & His All Stars Band Plays [New Jazz / Prestige (NJLP 105)]

Don Ferrara, Howard McGhee, Al Porcino (trumpets); J.J. Johnson, Kai Winding (trombones);

Charlie Kennedy (alto sax); Georgie Auld, Zoot Sims (tenor saxes); Gerry Mulligan (baritone sax);

Tony Aless (piano); Chubby Jackson (bass); Don Lamond (drums).

Recorded at Cinemart Studios, New York City, March 15, 1950