Zoot Sims on Prestige (I)

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered.

Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother, Ray Sims, developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and he joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set.

After a period in the Army, Sims was with Goodman from 1946-1947. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-1949). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson, and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-1956). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early '60s and visited the Soviet Union with Benny Goodman in 1962.

A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. Zoot started doubling on soprano quite effectively in the '70s. Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo.

Let's review his early recordings, starting with those made in Europe in the early 1950s and compiled by the Prestige label.

Zoot Sims

First Recordings!

Although as I write this Zoot Sims is about a month short of becoming 45, he is already one of the grand veterans of jazz. Coming from a family of vaudevillians and musicians he took to the road with big bands at an early age and traveled all over the United States. For many years this native Californian has made his home in New York but he has also lived for extended periods in Europe and spent time on the Continent touring with small groups and big bands. I once commented to him on his wide and varied travels and he drily replied, "I don't even look out the window anymore". 

It was in 1950 that he took his first trip to Europe and recorded for the first times with groups under his own leadership. (This is why the title First Recordings! which do not refer to sides he made with Joe Bushkin and Woody Herman, among others, long before these.) Zoot was in Europe in 1950 as a part of a sextet that Benny Goodman 

assembled especially for the tour. Roy Eldridge was aboard (Zoot and Roy recorded together under Roy's name for Vogue in France and later played as the front line in a 

quintet at Birdland after their return to the U.S.) as were Dick Hyman and Ed Shaughnessy who appear in this album. Among the countries in which they appeared were Sweden and France and Zoot recorded in both places. 

It has been twenty years for Zoot Sims since these First Recordings! and his talent has deepened along with his tone. Consistency has been his middle name and as great 

as he has always been he is even better today. But with the great ones the early work stands well the test of time. The proof is within these covers. *Ira Gitler (liner notes, September 1970) 

A nice little collection of early work by Zoot — all dates from 1950, and featuring material that was originally issued by Prestige on 10" or 7" eps! The package brings together a huge amount of tracks — 15 in all — and players include Gerald Wiggins, Pierre Michelot, Lee Konitz, Lars Gullin, Dick Hyman, Jimmy Woode, and Toots Thielemans. Titles include "Slingin Hash", "You Go To My Head", "Tickletoe", "Yellow Duck", "Dedicated To Lee", and "Linger Awhile".

*Dusty Groove, Inc.*

Side 1

1 - You Go To My Head

(Haven Gillespie, J. Fred Coots)

2 - Tickletoe

 (Lester Young)

3 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

4 - Yellow Duck

(Gunnar Almstedt, Lars Gullin)

5 - The Way You Look Tonight

(Dorothy Firlds, Jerome Kern)

6 - Dedicated To Lee

(Lars Gullin)

7 - Late Date

(Lars Gullin)

Side 2

8 - Linger Awhile

(Zoot Sims)

9 - Night And Day (Take 1)

(Cole Porter)

10 - Night And Day (Take 2)

(Cole Porter)

11 - I Understand

(Kim Gannon, Mabel Wayne)

12 - Don't Worry 'Bout Me

(Ted Koehler, Rube Bloom)

13 - Slingin' Hash (Take 1)

(Zoot Sims)

14 - Slingin' Hash (Take 2)

(Zoot Sims)

15 - Tenorly

(Zoot Sims)

#1, #2, #3:

Zoot Sims (tenor sax), Toots Thielemans (harmonica),

Jimmy Woode (piano), Simon Brehm (bass), Jack Norén (drums).

Recorded in Stockholm, Sweden, April 23, 1950

#4, #5:

Zoot Sims (tenor sax), Sixten Eriksson (trumpet), Lars Gullin (baritone sax),

Dick Hyman (piano), Charlie Short (bass), Ed Shaughnessy (drums).

Recorded in Stockholm, Sweden, April 24, 1950

#6, #7:

Zoot Sims (tenor sax), Lars Gullin (baritone sax), Lee Konitz (alto sax),

Conte Candoli (trumpet), Frank Rosolino (trombone), Don Bagley (bass), Stan Levey (drums).

Recorded in Stockholm, Sweden, August 25, 1953

#8 to #15:

Zoot Sims (tenor sax), Gerald Wiggins (piano), Pierre Michelot (bass), Kenny Clarke (drums).

Recorded at Vogue Studios, Paris, France, June 6, 1950

Buddy Collette And Teddy Edwards - The Crown Sessions

Buddy Collette (1921-2010) and Teddy Edwards (1924-2003) were two prominent, individual jazz musicians whose beginnings were firmly rooted in the Los Angeles Central Avenue jazz and rhythm and blues scene of the 1940s.

Buddy, born in Los Angeles, gained recognition in 1946 as an alto saxophone and clarinet player, performing alongside musicians like Lucky Thompson and Charlie Mingus. In 1950, he became the first Black musician to work in Los Angeles film and TV studios, further establishing his reputation in jazz through his versatility as a woodwind player. His collaborations with the Chico Hamilton Quintet and his own albums as a leader showcased his talents as a composer and thoughtful jazz musician.

Teddy, a native of Jackson, Mississippi, was credited with recording the first bop solo on tenor saxophone in 1946 on "Up in Dodo's Room" with Howard McGhee's sextet. He was an early associate of jazz greats like Dexter Gordon, Sonny Criss, Art Pepper, Max Roach, and Clifford Brown. Known for his charging, up-tempo, bluesy style, Edwards was equally adept at producing a sweet, burnished tone from the tenor sax, making him a significant influence on other tenor saxophonists like Harold Land and Sonny Rollins.

Throughout their extensive careers, both musicians remained deeply connected to Los Angeles as their home base and source of inspiration.

In the tracks included on this CD, recorded between 1959 and 1960, we hear Buddy Collette and Teddy Edwards in two rare quartet sessions, navigating through a set of blues and originals. The uniqueness of these recordings lies in the fact that they were originally scattered across several Crown label albums, without any personnel or composer information, often indiscriminately attributed to different jazz artists, with the musicians not always properly credited. Here, for the first time, they are grouped together in a single collection. *Jordi Pujol*

1 - What's Up?

2 - Hideaway

3 - Reunion

4 - Joggin'

5 - Evergreen

6 - Bye Bye

7 - The Groove

8 - Lucky Me

9 - Miss Beat

10 - I'll Get Away

11 - The Grind, Part 1

12 - The Grind, Part 2

13 - Across Town

#1 to #8:

Buddy Collette (tenor sax), Gerald Wiggins (piano),

Joe Comfort (bass), Bill Douglass (drums).

#1, #2, #3: from Way Out Wardell (Crown CLP-5278)

#4 : from Gerry Mulligan/Chet Baker/Chico Hamilton/Buddy Collette/Gerald Wiggins (Crown CLP-5289)

#5, #6, #7, #8: from Groovin’ High (Crown CLP-5284)

#9 to 13:

Teddy Edwards (tenor sax), Joe Castro (piano), Leroy Vinnegar (bass), Billy Higgins (drums).

#9, #10 from: Sonny Criss/Gerald Wiggins/Erroll Garner/Stan Getz (Crown CLP-5292) 

#11, #12, #13: from Erroll Garner/Wardell Gray/ Barney Kessel/Gerald Wiggins Crown (CLP-5293)

Recorded at Modern Records Studio, Hollywood, between 1959 and 1960.

Jack Costanzo - Afro Cuban Jazz North-Of-The-Border

Jack James Costanzo was born in Chicago (September 24, 1919), to Matteo and Virginia Sances Costanzo, both immigrants from Italy. A composer and drummer, Costanzo is best known for having been a bongo player, and was nicknamed "Mr. Bongo". He visited Havana three times in the 1940s and learned to play Afro-Cuban rhythms on the bongos and congas.

Costanzo started as a dancer, touring as a team with his wife before World War II. After his discharge from the Navy, he worked as a dance instructor at the Beverly Hills Hotel, where Latin band leader Bobby Ramos heard Costanzo playing bongos in a jam session and offered him a job. Throughout the 1940s, Costanzo worked with several Latin bands, including a revived version of the Lecuona Cuban Boys, Desi Arnaz, and Rene Touzet.

Costanzo toured with Stan Kenton from 1947 to 1948 and occasionally in the 1950s, and played with Nat King Cole from 1949 to 1953. He also played with the Billy May Orchestra, Peggy Lee, Danny Kaye, Perez Prado, Charlie Barnet, Pete Rugolo, Betty Grable, Harry James, Judy Garland, Patti Page, Jane Powell, Ray Anthony, Martin & Lewis, Frances Faye, Dinah Shore, Xavier Cugat, Frank Sinatra, Tony Curtis, and Eddie Fisher.

Costanzo formed his own band in the 1950s which recorded and toured internationally. Many Hollywood stars studied bongos with him, including Marlon Brando, Rita Moreno, Carolyn Jones, Hugh O'Brian, Keenan Wynn, Van Johnson, Tony Curtis, Betty Grable, Vic Damone, James Dean, and Gary Cooper.

Costanzo was in retirement until 1998 when he decided to make a comeback and in 2001 recorded Back From Havana under the Ubiquity Records umbrella. This album featured the likes of Black Note's Gilbert Castellanos, Steve Firerobing and the Panamanian singer Marilu. In 2002 he released another album with the same cast called Scorching The Skins this time he also added Quino from Big Mountain. Costanzo has continued to tour and perform in California and abroad.

Costanzo died of complications from a ruptured abdominal aortic aneurysm at his home in Lakeside, California, on August 18, 2018, aged 98.

***

This album represents a milestone for me. Since my days with Stan Kenton and Nat King Cole my aim has been to make acceptable the Conga and Bongo Drums as percussion instruments for all types of music.

To think as a Jazz musician, after having worked exclusively with Latin type orchestras previous to the Kenton crew, and to curb the natural instinct to exploit the instruments so they fit in with all the different types of music and rhythms, and still not interfere with the already established format of a Jazz rhythm section were two of the most important adjustments.

I think on most of these records an example is made, whereby a Conga Drum is used for Jazz and still does not make the listener think in terms of Latin music. We do have a Mambo in the album, however, because I still love to play Latin style arrangements.

Having been the first Bongo man to join a Jazz group was thrilling, but the drawback was in having no idea what to play that would fit the so-called swing or Jazz Bands. Fortunately, I was given complete freedom in the Kenton organization and was able to experiment. At first I used Bongos only for effects — then gradually felt my way thru to a position where I was noticeably helping to change the sound of the rhythm section without getting in the way.

On the solo Drum number, which is titled "Mambo Costanzo", I took the liberty of playing what I felt. These are the sounds I hear when I play, influenced, of course, by what I’ve heard and know of Cuban and African music.

The record is simply a Drum-vocal expression — a one man jam session for my own pleasure.

This is my first recorded efforts with my own group and I think the spirit of how the tunes are played represents the attitude of musicians playing for the sheer love of playing.

*Jack Costanzo (liner notes)*

Side 1

1 - Bottlabud

(Holman)

2 - Satin Doll

(Ellington)

3 - Mambo Costanzo

(Costanzo)

Side 2

4 - Yukon Mambo

(Costanzo)

5 - Maggie

(P.D.)

6 - G & J Blues

(Wiggins, Costanzo)

Jack Costanzo (bongos) with

#1, #2:

Rolf Ericson (trumpet), Herbie Steward (alto sax), Bill Holman (tenor sax), Gerald Wiggins (piano), Joe Comfort (bass), Lawrence Marable (drums).

#4. #5, #6:

John Anderson (trumpet); Herbie Steward (alto sax); Tom Brown (tenor sax); Gerald Wiggins (piano); Jack Coughlan (bass); Al Bartee [#4. #5], Jackie Mills [#6] (drums).

Recorded in Los Angeles, California, December 17, 1954.

 

Leonard Feather And Best From The West

Some of the finest West Coast jazz combo playing of late 1954 appears on Best From the West: Modern Sounds from California (Vols. 1 and 2). These albums were issued by Blue Note as a pair of 10-inch LPs. Frankly, there isn't a drop of filler here, and the playing and compositions, many of which are by Shorty Rogers, swing with a special richness and aggression. As Leonard Feather writes in the original album's liner notes, "this is a wailing set of performances". 

Volume 1 was released in early 1955 and marketed without the musicians' names. The plan was brilliant, actually. Several of the musicians on the date already had contractual commitments. Which presented Feather, the album's producer, with a problem. But rather than trying to thread a needle, Feather simply removed the needle. All of the artists' names were removed, and the record was positioned as a "blindfold test".

The goal was to put listeners through the same audio exam that Metronome magazine had been administering to jazz musicians since 1946 (and a nifty gimmick that continues in jazz publications today). Album-buyers were asked to guess who was playing. At the end of Volume 1's liner notes, Feather writes:

"We're curious to see which of Blue Note's customers, long noted for their astute jazz tastes and discernment, can come up with a complete or at least partially correct answer".

Listeners were urged to send their picks along to Blue Note's offices. Feather offered only six clues in his Volume 1 liner notes:

1. All the music on both LPs was recorded during the winter of 1954-55 in Hollywood, CA.

2. The music was recorded at three different sessions, using a total of 12 instruments, played by sixteen men and a girl (sic).

3. None of the musicians made his record debut on these sessions. In fact, most of them had recorded frequently before, and many are closely associated with the disarmingly amorphous entity known as "West Coast Jazz".

4. The musicians who composed the original material for these sessions did not necessarily take part as instrumentalists.

5. All 17 musicians can be heard if you listen to the three numbers entitled The Blindfold Test (actually three different themes based all based on the 12-bar blues format).

6. All the musicians can be heard on either side of either record.

Best From The West • Volume 1

Modern Sounds From California

1 - Santa Anita

(Shorty Rogers)

2 - Santa Monica

(Buddy Collette)

3 - The Blindfold Test No. 1

(Shorty Rogers)

4 - Culver City

(Shorty Rogers)

5 - The Blindfold Test No. 2

(Shorty Rogers)

6 - Hooray For Hollywood

(Whiting, Mercer)

#1 and #6:

Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone, tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass), Larry Bunker (drums).

#2 and #5:

Conte Candoli (trumpet), Jimmy Giuffre (tenor sax, clarinet, baritone sax), Buddy Collette (alto sax, flute), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass), Stan Levey (drums).

#3 and #4:

Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded at Radio Recorders Studio, Hollywood, Los Angeles, California, December 31, 1954.

***

Volume 1 did not include the names of musicians on the date. But Volume 2, released soon afterward, did, thus revealing the mystery players. I have no idea why it was OK to announce the musicians' names in Volume 2 but not in Volume 1. My guess is that whatever releases Feather and Blue Note were seeking for the first album came through in time for the second album. If so, it's interesting how the Blue Note marketers positioned the inclusion of the names on a "blindfold test" album.

To keep the game interesting, the soloists on Blindfold Tests 1, 2 and 3 were not revealed. But since all of the musicians' names were listed on Volume 2, determining who was playing wasn't too much of a stretch-unless you were unfamiliar with the West Coast scene, which likely was the case for Blue Note's East Coast customer base.

While the two albums featured a wide range of musicians, the Conte Candoli sessions are particularly interesting. Recorded on December 31, 1954, the first group featured Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass) and Stan Levey (drums).

The next group with Candoli featured Buddy Collette (flute and alto sax), Jimmy Giuffre (tenor sax, clarinet and baritone sax), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass) and Stan Levey (drums).

The 10-inch albums featured yet another set of musicians recorded on the same day: Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone and tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass) and Larry Bunker (drums).

Among the many delightful surprises on these recordings are the early flute of Buddy Collette, superb clarinet work by Jimmy Giuffre, the piano of Lorraine Geller and beautiful, full jazz guitar work by Howard Roberts.

Compositions were mostly by Shorty Rogers, with one by Pete Rugolo and originals by musicians on the dates as well as a few standards.

As you listen to the recordings without looking at the personnel, what's instantly clear is the influence that Roy Eldridge and Dizzy Gillespie had on Candoli's playing during this period, before Miles Davis and Kenny Dorham made a much deeper impression.

These albums are a must-own for anyone who appreciates West Coast jazz under the influence of East Coast sensibilities and the intensity of Candoli's horn. *Marc Myers*

Best From The West • Volume 2

Modern Sounds From California

1 - Van Nuys Indeed

(John Grass)

2 - Here's Pete

(Pete Rugolo)

3 - The Blindfold Test No. 3

(Feather, Rogers)

4 - Burbank Bounce

(Marty Paich)

5 - Arcadia

(Leonard Feather)

6 - No Love, No Nothing

(Warren, Robin)

#1 and #4:

Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass), Stan Levey (drums).

#2 and #6:

Conte Candoli (trumpet), Jimmy Giuffre (tenor sax, clarinet, baritone sax), Buddy Collette (alto sax, flute), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass), Stan Levey (drums).

#3 and #5:

Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone, tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass), Larry Bunker (drums).

Recorded at Radio Recorders Studio, Hollywood, Los Angeles, California, December 31, 1954.

Roy Eldridge • Zoot Sims - Roy And Zoot

Roy and Zoot, two of the foremost names in the field of jazz, are featured on this new Discovery International Series LP. Both are too well known to require any biographical material. Their records of musical accomplishments cover a wide field of jazz.  

One sign of Roy's outstanding talent is his ability to go along with the many changes which are constantly taking place in the world of music. His horn has been heard playing many styles of jazz ranging from the beginning of the swing era right up to the present age of progressive sounds. His versatility is the basis for some of the best jazz releases in the past years.

Zoot, on the other hand, is a comparative newcomer to the field of jazz and confines his musical talents strictly to progressive sounds. Whether working in a trio or featured in Stan Kenton's band, the unmistakable sounds of Zoot's horn is always predominant. Like many other names in the progressive jazz field, Zoot did some of his early playing at the Club Downbeat in New York and was featured with such names as Chuck Wayne, Billy Taylor, Mary Lou Williams and many others. His rapid rise to prominence is the best guide to his ability.

Roy and Zoot met in Paris one Spring and joined up in various sessions with some of the best American and European musicians who were there at the time. These sides are some of the best that were cut and feature many of these men. (Liner notes)

Side 1

1 - King David

(Roy Eldridge)

2 - Wrap Your Troubles In Dreams

(Harris, Kohler, Moll )

3 - The Man I Love

(G. & I. Gershwin)

4 - Easter Parade

(Irving Berlin)

Side 2

5 - Wild Driver

(Roy Eldridge)

6 - Undecided

(Shavers)

7 - The Heat's On

(Roy Eldridge)

8 - Goliath Bounce

(Roy Eldridge)

#1, #3, #6:

Roy Eldridge (trumpet), Zoot Sims (tenor sax), Dick Hyman (piano), Pierre Michelot (bass), Ed Shaughnessy (drums).

#2:

Roy Eldridge (trumpet), Dick Hyman (piano), Pierre Michelot (bass), Ed Shaughnessy (drums).

#4, #5, #8:

Roy Eldridge (trumpet), Jerry Wiggins (piano), Pierre Michelot (bass), Kenny Clarke (drums).

#7:

Roy Eldridge (trumpet), Don Byas (tenor sax), Claude Bolling (piano), Guy DeFatto (bass), Armand Moletti (drums).

Recorded in Paris, June 9 (#1, #2, #3, #6), June 14 (#4, #5, #8) 1950 and March 28 (#7) 1951. 

Gerry Wiggins - Relax And Enjoy It!

Some jazz —like the music of Gerry Wiggins on this album— can be listened to at several levels, depending on your inclination. It can be background music to conversation, reading, experiments in the time-lag of afterglow, research projects in mood-induction and lovesmanship. It can also be —if you wish it— the kind of jazz which requires digging and which rewards digging with something new each new time you dig it hard. 

Gerry Wiggins is the kind of jazz musician who is unspectacular, who is not a brash innovator nor in any sense a flamboyant character. Yet it is musicians like him who provide the great body of jazz music with its virtues. 

It may be most indicative of his value that he has been one of the very best accompanists to come out of jazz, in a class with Jimmy Jones and Bobby Tucker. Being an exceptional accompanist for singers requires the sort of sensitivity, the type of warm and helpful personality, the courage to sublimate that personality momentarily in the interests of a good performance, that is inherent in all jazz artists. It is an integral part, really, of all good jazz, almost without exception, that 

mutual aid and sensitivity to the other artists should be the basis for playing. No really good jazzman is without it and all good accompanists have it to a high degree. I guess what I am trying to say here is that Gerry Wiggins on this album, and every time I have had the pleasure of hearing him in person, plays in a manner which I find totally pleasing. I have had the album some time now before writing this essay. I have found it rewarding to play at any hour of the day or night and surrounded before and after by any kind of music. It can stand on its own at all times; isn’t that the mark of good music of any kind? 

If you want lyricism, it is here; if you want an introduction to the blues to regenerate your feelings, it too is here. If you like to swing without stomping, you can. If you want to let the background of your conversation be lightly filled with pleasant sounds, this, too, is possible. And if you want to sit with your ear glued to the speaker and listen to the music and to nothing else until there is no thought in your mind but the impressions and sounds of the lines of Gerry Wiggins and Joe Comfort and the rhythms of Jackie Mills, this can be your pleasure. *Ralph J. Gleason (liner notes)* 

Side 1

1 - Narcissus

(Ethelbert Nevin)

2 - Frankie and Johnny

(Traditional, arr.Gerry Wiggins)

3 - One For My Baby

(Mercer, Arlen)

4 - Lady Is A Tramp

 (Rodgers, Hart)

Side 2

5 - Serenade In Blue

(Warren, Gordon)

6 - My Heart Stood Still

(Rodgers, Hart)

7 - Just Squeeze Me / Satin Doll

(Duke Ellington)

8 - Blue Wig

(Gerry Wiggins)

Gerry Wiggins (piano), Joe Comfort (bass), Jackie Mills (drums).

Recorded at Contemporary's Studio, Los Angeles, October 10, 1956.