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Reviewers: Tony Augarde [Editor], Steve Arloff, Nick Barnard, Pierre Giroux, Don Mather, Glyn Pursglove, George Stacy, Bert Thompson, Sam Webster, Jonathan Woolf



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ZOOT SIMS

Compatability

Jump 12 36

 

 

1. The Way You Look Tonight

2. Nash-Ville

3. You Don't Know What Love Is

4. Compatability

5. The Way You Look Tonight

6. Nash-Ville

7. You Don't Know What Love Is

8. Compatability

9. The Way You Look Tonight

10. Nash-Ville

11. Studio Chatter

12. Compatability

13. Nash-Ville

 

Hall Daniels - Trumpet

Dick Nash - Trombone

Zoot Sims - Tenor sax

Bob Gordon - Baritone sax

Tony Rizzi- Guitar

Paul Atkerson- Piano

Rolly Bundock- Bass

Jack Sperling - Drums

 

Delmark Records has taken over the defunct Jump label and this is the first of what we may hope is a number of reissues of its material. These sessions were recorded in Hollywood in 1955, when the first four tracks were originally released on a ten-inch LP, and tracks 5-10 were issued in 1977 on a twelve-inch LP. Tracks 11-13 have not been released before. You may notice a certain similarity in the tune titles, which presumably derive from alternate takes of four different compositions. Two of the tunes are jazz standards and the other two were composed by trumpeter Hall Daniels, who wrote the arrangements.

Despite the similarities in the material, there is enough variety to keep one's interest alive, especially in Zoot Sims' solos. Zoot had already established his reputation in Benny Goodman's band and particularly as one of the Four Brothers in the Woody Herman ensemble. He had developed a smooth, swinging, legato style which was very easy on the ear as well as displaying a continuous wealth of ideas.

There are some fine solos from other members of the group - notably baritone saxist Bob Gordon, whose meaty baritone sound resembled that of Gerry Mulligan. Sadly Gordon died in a car accident only a few months after these recordings were made, but he had already made his name as one of the best West Coast musicians. Other good solos come from Hall Daniels, Dick Nash and Tony Rizzi.

Hall Daniels' arrangements make the best use of the octet framework. As I implied when I reviewed an album by the Dave Pell Octet, this size of ensemble allows for tight arrangements with novel combinations of instruments. Someone didn't seem to know how to spell "compatibility" but, with such pleasant music, it doesn't seem to matter.

Tony Augarde

www.augardebooks.co.uk


 



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