This date features a couple of my personal favorite all-stars: Shelly Manne and Zoot Sims. Together with Edison they whip up quite a storm, ably supported by Monty Budwig on bass and Mike Wofford on piano.
This out-of-print Pablo LP (which will certainly be reissued on CD in the future) is from the later days of the label. Trumpeter Harry “Sweets” Edison was just beginning to fade around this period but he still sounds in fine form, teamed up wtih Zoot Sims (who plays tenor on three and soprano on one of the six selections), pianist Mike Wofford, bassist Monty Budwig and drummer Shelly Manne. They perform the leader’s “Elegante” plus five standards with the highlights including “Centerpiece” (Sweets’ famous blues line) and “Sunday.” Fine swinging mainstream jazz.
This Minty looking Pablo LP, engineered by the brilliant Allen Sides, has very good sound. Which is to be expected from this amazing engineer, responsible for recordings like 88 Basie Street and Kenny Burrell’s Heritage album.
This is one of the best Zoot Sims records as well. He plays beautifully. This melodic, smooth material is what he excels at. His breathy saxophone style will remind you of Coleman Hawkins and Ben Webster. This recording captures that sound perfectly.
It also gets the sound of his reed. The recording is so transparent you can clearly hear the contribution his reed makes to his sound.
The overall impression one gets of this recording is BIG. Big stage and full size instruments — this is Cinerama sound, wall to wall and floor to ceiling.(more…)
A distinguished member of the Better Records Jazz Hall of Fame.
One of the all time great Pablo sleepers. Why is no one else writing about records like these? The music is wonderful and the sound is top drawer on the best copies. If you’ve tried and failed with other Pablo Zoot Sims records, fear not: this title is one of his best, musically and sonically.
If you want to hear the Duke’s music swing in top sound, get this album.
This is a big group, probably at least a dozen pieces at any given time, and all that energy is captured on the best copies with tremendous engineering skill. The lively arrangements are by none other than Benny Carter, a man who knows his jazz. His career started in the ’20s(!) and lasted into this century if you can believe it. I consider myself fortunate to have seen him play locally when he was more than 90 years old. He stlll had it, kind of.(more…)
These are just some of the recordings by Zoot Sims that we’ve auditioned recently and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place in your collection, and may even belong in our Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.
Why is no one else writing about records like these? The music is wonderful and the sound is top drawer on the best copies. If you’ve tried and failed with other Pablo Zoot Sims records, fear not: this title is one of the best we have ever played, musically and sonically. (more…)
White Hot on side two, nearly White on side one, this live album is crazy good sounding on this copy. Huge space, size and clarity, with Tubey Magical richness befitting its 1960 recording dates. On the second track of side two the swingin’ Zoot Sims is as immediate and real as any sax player can be.
Even though this is an All Tube Vintage Jazz recording, some copies tended to get a bit dry and midrangy. Some of this no doubt has to do with the different venues the songs were recorded in.
The sound is not particularly wide — some of it sounds almost mono — but it is tall and deep, and certainly more than spacious enough.(more…)