Zoot Sims • New Beat Bossa Nova Vol 1+Vol 2

 

Biography by Scott Yanow
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.
https://www.allmusic.com/artist/zoot-sims-mn0000228087/biography

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Biografía de Scott Yanow
A lo largo de su carrera, Zoot Sims fue famoso por personificar al músico del swing, nunca tocando una frase inapropiada. Siempre sonaba inspirado, y aunque su estilo no cambió mucho después de los primeros años 50, el entusiasmo y la creatividad de Zoot nunca flaqueó.

La familia de Zoot se dedicaba al vodevil, y él tocaba la batería y el clarinete en su juventud. Su hermano mayor, Ray Sims, se convirtió en un fino trombonista que sonaba como Bill Harris. A los 13 años, Sims cambió permanentemente al tenor, y su inspiración inicial fue Lester Young, aunque pronto desarrolló su propio sonido de tono fresco. Sims era un profesional a los 15 años, consiguiendo su primer trabajo importante con la Orquesta de Bobby Sherwood, y se unió a la gran banda de Benny Goodman por primera vez en 1943; sería uno de los tenores favoritos de BG durante los siguientes 30 años. Grabó con Joe Bushkin en 1944, e incluso en esa primera etapa, su estilo estaba muy marcado.

Después de un período en el ejército, Sims estuvo con Goodman de 1946 a 1947. Ganó su fama inicial como uno de los "Cuatro Hermanos" de Woody Herman durante su estancia en la Segunda Manada (1947-1949). Zoot tuvo breves estancias en la corta vida de la gran banda de Buddy Rich, Artie Shaw, Goodman (1950), Chubby Jackson, y Elliot Lawrence. Hizo giras y grabó con Stan Kenton (1953) y Gerry Mulligan (1954-1956). Sims también fue un solista estrella de la Concert Jazz Band de Mulligan a principios de los años 60 y visitó la Unión Soviética con Benny Goodman en 1962. Trabajó por cuenta propia durante la mayor parte de su carrera, y a menudo dirigió sus propios combos o bandas codirigidas con su amigo Al Cohn; los dos tenores tenían sonidos y estilos muy similares. Zoot empezó a doblar a la soprano de forma bastante efectiva en los 70. A través de los años, apareció en innumerables situaciones, y siempre pareció salir adelante. Afortunadamente, Zoot Sims grabó con frecuencia, dirigiendo sesiones para Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, y una maravillosa serie para Pablo.
https://www.allmusic.com/artist/zoot-sims-mn0000228087/biography

 

 

zootsims.jazzgiants.net ...

 

Shirley Scott • Workin'and stompin'

Born in Philadelphia, Pennsylvania, Scott studied trumpet and piano in school. As a performer in the 1950s, she played the Hammond B-3 organ. Her recordings with Eddie "Lockjaw" Davis included the hit "In the Kitchen". Influenced by gospel and blues, she played soul jazz in the 1960s with Stanley Turrentine, who became her husband during the same decade; the couple divorced in 1971.

Although organ trios declined in popularity during the 1970s, they resurged in the 1980s and she recorded again. In the 1990s, she recorded as pianist in a trio and performed at venues in Philadelphia. She was also a jazz educator.

Scott won an $8 million settlement in 2000 against American Home Products, the manufacturers of the diet drug fen-phen. She died of heart failure in 2002.

On June 25, 2019, The New York Times Magazine listed Shirley Scott among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

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Nacida en Filadelfia, Pensilvania, Scott estudió trompeta y piano en la escuela. Como intérprete en la década de 1950, tocó el órgano de Hammond B-3. Sus grabaciones con Eddie "Lockjaw" Davis incluyeron el éxito "In the Kitchen". Influenciada por el gospel y el blues, tocó soul jazz en los años 60 con Stanley Turrentine, quien se convirtió en su marido durante la misma década; la pareja se divorció en 1971.

Aunque la popularidad de los tríos de órgano disminuyó durante la década de 1970, resurgieron en la década de 1980 y ella grabó de nuevo. En los años 90, grabó como pianista en un trío y actuó en lugares de Filadelfia. También fue educadora de jazz.

Scott ganó un acuerdo de $8 millones en el año 2000 contra American Home Products, los fabricantes del medicamento dietético fen-phen. Murió de insuficiencia cardíaca en 2002.

El 25 de junio de 2019, la revista The New York Times Magazine incluyó a Shirley Scott entre los cientos de artistas cuyo material fue destruido en el incendio de Universal de 2008.

 

 

 

B. B. & The Blues Shacks • Feelin' Fine Today

B.B. & The Blues Shacks today have developed into the most successful performers of traditional blues in Europe. Since its formation in 1989, the band from Hildesheim / Germany has established itself as one of the top acts within the blues scene, with countless club and festival appearances all over Europe. With their swinging and shuffling brand of blues from the 1940's and 1950's, together with their own compositions in this style, they are among the most authentic blues bands active today. Whether covering lesser-known classics of the era or performing their own songs, B.B. & The Blues Shacks always show their respect of their idols, such as T-Bone Walker or Sonny Boy Williamson.

But at the same time, the Shacks are very much up to date, incorporating contemporary topics and recent events in their own songs, telling their own stories of today. Although their own compositions sound like they could have been written in the 50's, the imaginative lyrics and creative musical ideas make them sound fresh. www.bluesshacks.com .

The band has gathered essential experience by backing up many touring American blues acts such as R.J. Mischo, Kid Ramos and Smokey Wilson, contributing to the further development of their own mature musical expression. Besides their musical prowess, B.B. & The Blues Shacks are an exciting visual live act with a repertoire that encompasses Delta Blues, Swing, Chicago Blues, and West Coast Jump Blues, all the way to 50's style Rock 'n' Roll. This is music for all lovers of charged-up blues shows without any hackneyed clichés! Back to the essentials of electric blues with B.B. & The Blues Shacks!

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B.B. & The Blues Shacks se han convertido hoy en los más exitosos intérpretes de blues tradicional en Europa. Desde su formación en 1989, la banda de Hildesheim / Alemania se ha establecido como uno de los mejores actos dentro de la escena del blues, con innumerables apariciones en clubes y festivales en toda Europa. Con su estilo de blues de los años 40 y 50, junto con sus propias composiciones en este estilo, se encuentran entre las bandas de blues más auténticas que existen hoy en día. Ya sea cubriendo clásicos menos conocidos de la época o interpretando sus propias canciones, B.B. & The Blues Shacks siempre muestran su respeto por sus ídolos, como T-Bone Walker o Sonny Boy Williamson.

Pero al mismo tiempo, los Shacks están muy al día, incorporando temas contemporáneos y acontecimientos recientes en sus propias canciones, contando sus propias historias de hoy. Aunque sus propias composiciones suenan como si hubieran sido escritas en los años 50, las letras imaginativas y las ideas musicales creativas las hacen sonar frescas. www.bluesshacks.com .

La banda ha reunido una experiencia esencial al apoyar a muchos actos de blues americano en gira como R.J. Mischo, Kid Ramos y Smokey Wilson, contribuyendo al desarrollo de su propia expresión musical madura. Además de su destreza musical, B.B. & The Blues Shacks son un emocionante acto visual en vivo con un repertorio que abarca el Delta Blues, Swing, Chicago Blues, y West Coast Jump Blues, hasta el estilo de los 50's Rock 'n' Roll. Esta es música para todos los amantes de los espectáculos de blues cargados sin ningún cliché trillado! ¡Volvemos a lo esencial del blues eléctrico con B.B. & The Blues Shacks! 

 

Stan Getz • Stan Getz And The Oscar Peterson Trio

 

Review

In that quintessential breakthrough year of modern jazz -- 1957 -- Norman Granz was fond of pairing the legendary drummerless trio of Oscar Peterson with several different stars from the Jazz at the Philharmonic concert series. In this case, Stan Getz is the nominee, and Granz could not have found a better match for the pianist alongside his peerless combo than the ripe, mature, and bebopping tenor saxophonist. It was a one-shot deal, the only official collaboration between Getz and Peterson, expanded on this edition of the Silver Collection series with tracks from the complete session, with no alternate takes or bonus tracks and recorded entirely in monaural. Unlike Art Tatum -- who could never really restrain his notions to always cut loose -- Peterson sounds relatively relaxed on this date, understanding that Getz was also not going to shred up every tune they played. With guitarist Herb Ellis and bassist Ray Brown, the quartet members not only have all the rhythmic cohesion they need without a formal timekeeper, but interact in a way that approaches telepathic or magical. In short, the quartet is in the zone like few groups ever achieve in a studio setting. They zip through a bop-based edition of "I Want to Be Happy," a hopped-up adaptation of "Sweet Georgia Brown" titled "Tour's End," and the flawless "Three Little Words" like they are child's play. The strong Kansas City cum Texas-style guitar of Ellis cannot be denied during "Bronx Blues," while Getz reins in the countrified air of the jam in a laid-back but downtown fashion. During the great song (penned by Ellis) "Detour Ahead," heard here in an instrumental, post-Billie Holiday version, the ensemble shows ultimate flexibility, heightened by the tenor saxophonist's touching yet firm grasp of the melody. Aside from the closer, "Blues for Herky," with a choppy guitar from Ellis and a New Orleans-type feel, the rest of the material consists of ballads or midtempo cool tunes. This is where Peterson is most surprising, toning down his act, interpreting the songs with the precision of a diamond cutter, and using his acute listening skills to the fullest. Those bedazzled by the utter virtuosity of the pianist should listen more closely to this recording to hear how his taste level is as elevated as the monster technique he possesses. While "I Was Doing All Right" approaches a lounge sound, the five-tune "Ballad Medley" displays Peterson at his best, especially on his feature, "How Long Has This Been Going On." On this great album for the times and all time, these wonderful musicians are on from the word go, providing 60 priceless minutes of music that any mainstream jazz lover can embrace.

https://www.allmusic.com/album/stan-getz-and-the-oscar-peterson-trio-mw0000191869

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Reseña

En ese año de gran avance del jazz moderno, 1957, Norman Granz se encargó de emparejar al legendario trío sin batería de Oscar Peterson con varias estrellas de la serie de conciertos de Jazz en la Filarmónica. En este caso, Stan Getz es el nominado, y Granz no podría haber encontrado una mejor pareja para el pianista junto a su incomparable combo que el maduro, maduro y bebopping saxofonista tenor. Fue un acuerdo de una sola vez, la única colaboración oficial entre Getz y Peterson, ampliada en esta edición de la serie Silver Collection con temas de la sesión completa, sin tomas alternas ni bonus tracks y grabada totalmente en monaural. A diferencia de Art Tatum, que nunca pudo restringir sus nociones para siempre soltarse, Peterson suena relativamente relajado en esta fecha, entendiendo que Getz tampoco iba a destrozar cada canción que tocara. Con el guitarrista Herb Ellis y el bajista Ray Brown, los miembros del cuarteto no sólo tienen toda la cohesión rítmica que necesitan sin un cronómetro formal, sino que interactúan de una manera que se acerca a lo telepático o mágico. En resumen, el cuarteto está en la zona como pocos grupos logran en un estudio. Pasan por una edición basada en el bop de "I Want to Be Happy", una esperanzadora adaptación de "Sweet Georgia Brown" titulada "Tour's End", y las impecables "Three Little Words" como si fueran un juego de niños. La fuerte guitarra de Ellis al estilo Kansas City cum Texas no se puede negar durante el "Bronx Blues", mientras Getz se encarga del aire campestre de la mermelada de una manera relajada pero céntrica. Durante la gran canción (escrita por Ellis) "Detour Ahead", que se escucha aquí en una versión instrumental post-Billie Holiday, el conjunto muestra una flexibilidad definitiva, realzada por el conmovedor pero firme agarre de la melodía por parte del saxofonista tenor. Aparte del cierre, "Blues para Herky", con una guitarra entrecortada de Ellis y una sensación tipo New Orleans, el resto del material consiste en baladas o melodías frescas de medio tiempo. Aquí es donde Peterson es más sorprendente, bajando el tono de su actuación, interpretando las canciones con la precisión de un cortador de diamantes, y usando sus agudas habilidades de escucha al máximo. Aquellos deslumbrados por el virtuosismo del pianista deberían escuchar más de cerca esta grabación para oír cómo su nivel de gusto es tan elevado como la monstruosa técnica que posee. Mientras "I Was Doing All Right" se acerca a un sonido de salón, la "Ballad Medley" de cinco tonos muestra a Peterson en su mejor momento, especialmente en su artículo "How Long Has This Been Going On". En este gran álbum para la época y para siempre, estos maravillosos músicos están en marcha desde el principio, proporcionando 60 minutos de música que no tienen precio y que cualquier amante del jazz puede abrazar.

https://www.allmusic.com/album/stan-getz-and-the-oscar-peterson-trio-mw0000191869

Lightnin' Hopkinsː His Life and Blues

 

 By the time of his death in 1982, Sam “Lightnin’” Hopkins was likely the most recorded blues artist in history. This brilliant new biography--the first book ever written about him--illuminates the many contradictions of the man and his myth.

Born in 1912 to a poor sharecropping family in the cotton country between Dallas and Houston, Hopkins left home when he was only eight years old with a guitar his brother had given him. He made his living however he could, sticking to the open road, playing the blues, and taking odd jobs when money was short. This biography delves into Hopkins’s early years, exploring the myths surrounding his meetings with Blind Lemon Jefferson and Texas Alexander, his time on a chain gang, his relationships with women, and his lifelong appetite for gambling and drinking.

Hopkins didn’t begin recording until 1946, when he was dubbed “Lightnin’” during his first session, and he soon joined Muddy Waters and John Lee Hooker on the national R & B charts. But by the time he was “rediscovered” by Mack McCormick and Sam Charters in 1959, his popularity had begun to wane. A second career emerged--now Lightnin’ was pitched to white audiences, not black ones, and he became immensely successful, singing about his country roots and injustices that informed the civil rights era with a searing emotive power.

More than a decade in the making, this biography is based on scores of interviews with Lightnin’s lover, friends, producers, accompanists, managers, and fans.

 

  Alan Govenar (Author)