DOCSLIB.ORG

The Zoot Sims Quintet Zoot! Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Zoot Sims Quintet Zoot! Mp3, Flac, Wma The Zoot Sims Quintet Zoot! mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Zoot! Country: Japan Released: 1975 Style: Cool Jazz MP3 version RAR size: 1198 mb FLAC version RAR size: 1266 mb WMA version RAR size: 1675 mb Rating: 4.7 Votes: 141 Other Formats: VOX AHX AIFF ASF FLAC AA MP3 Tracklist Hide Credits Why Cry? A1 Written-By – Florence Handy Echoes Of You A2 Written-By – F.Handy* Swim, Jim A3 Written-By – F.Handy* Here And Now B1 Written-By – F.Handy* Fools Rush In B2 Written-By – Mercer*, Bloom* Osmosis B3 Written-By – Osie Johnson Taking A Chance On Love B4 Written-By – Latouche*, Duke* Companies, etc. Record Company – Bill Grauer Productions Inc. Manufactured By – Victor Musical Industries, Inc. Phonographic Copyright (p) – Victor Musical Industries, Inc. Recorded At – Reeves Sound Studios Credits Alto Saxophone – Jack "Zoot" Sims* (tracks: A3, B3) Bass – Wilbur Ware Design [Typography] – Paul Bacon Drums – Osie Johnson Engineer [Recording] – Jack Higgins Photography By [Cover Photo] – Carole Reiff Galletly Piano, Arranged By – George Handy Producer, Liner Notes – Orrin Keepnews Tenor Saxophone – Jack "Zoot" Sims* Trumpet – Nick Travis Notes Recorded December 13 and 18, 1956. Bill Grauer Productions Inc. New York City Manufactured by Victor Musical Industries, Inc. from a master recording owned by Milestone Records, Inc., U. S. A. (K) Victor Musical Industries, Inc. (P)75 On labels: Cat # (SRS-6051) & (RLP-12-228-A/B) Mil4estone logo on Inlay sheet not branded on disc Barcode and Other Identifiers Matrix / Runout (Matrix print label A): SRS-6+051 RLP-12-228-A Matrix / Runout (Matrix print label B): SRS-6+051 RLP-12-228-B Matrix / Runout (Runout Side A stamped): 〄 Ⓑ RLP 12 228 A 121 ✢ J Matrix / Runout (Runout Side B stamped): RLP 12 228 B E 1 1 1 ✢ Other (Category US release): RLP 12-228 Other versions Category Artist Title (Format) Label Category Country Year The Zoot Zoot! (LP, RLP 12-228 Sims Riverside Records RLP 12-228 US 1956 Album, Mono) Quintet The Zoot Zoot! (LP, RLP 12-228 Sims Riverside Records RLP 12-228 US 1956 Album, Mono) Quintet London Records, London American The Zoot LTZ-U15135, Zoot! (LP, Recordings, LTZ-U15135, Sims UK 1958 LTZ-U.15135 Album, Mono) London Records, LTZ-U.15135 Quintet London American Recordings Zoot! (CD, UCCO-9293 Zoot Sims Album, Mono, Riverside Records UCCO-9293 Japan 2006 RE, RM) The Zoot Zoot! (LP, VIJ-146 Sims Album, Mono, Riverside Records VIJ-146 Japan 1984 Quintet RE) Related Music albums to Zoot! by The Zoot Sims Quintet Zoot Sims Quartet - Zoot Al Cohn - Zoot Sims Quintet - You 'N Me Al Cohn & Zoot Sims - Al & Zoot In London Al Cohn & Zoot Sims - From A To Z - And Beyond Capt. John Handy & The Easy Riders Jazz Band - Very Handy! Zoot Sims - Joe Newman Quintet - Locking Horns Zoot Sims - Plays Alto, Tenor And Baritone Zoot Sims Plays Duke Ellington - Passion Flower The Curtis Fuller Quintet Featuring Zoot Sims - South American Cookin' The Bob Brookmeyer - Zoot Sims Quintet - Today's Jazz.
Load more

Recommended publications
  • Part 2 of Selected Discography
    Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
    [Show full text]
  • Thad Jones Discography Copy
    Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 112 CONGRESS, FIRST SESSION
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 112 CONGRESS, FIRST SESSION Vol. 157 WASHINGTON, FRIDAY, JANUARY 7, 2011 No. 3 Senate The Senate was not in session today. Its next meeting will be held on Tuesday, January 25, 2011, at 10 a.m. House of Representatives FRIDAY, JANUARY 7, 2011 The House met at 9 a.m. and was PLEDGE OF ALLEGIANCE GRESSIONAL RECORD daily, and I will called to order by the Speaker pro tem- The SPEAKER pro tempore. Will the continue to do so until Washington pore (Mrs. MILLER of Michigan). gentleman from Illinois (Mr. JACKSON) takes responsibility and ends its reck- less spending addiction. f come forward and lead the House in the Pledge of Allegiance. f DESIGNATION OF THE SPEAKER Mr. JACKSON of Illinois led the PRO TEMPORE Pledge of Allegiance as follows: SEND YOUR RESUMES The SPEAKER pro tempore laid be- I pledge allegiance to the Flag of the (Mr. JACKSON of Illinois asked and fore the House the following commu- United States of America, and to the Repub- was given permission to address the nication from the Speaker: lic for which it stands, one nation under God, House for 1 minute and to revise and indivisible, with liberty and justice for all. WASHINGTON, DC, extend his remarks.) January 7, 2011. f Mr. JACKSON of Illinois. Madam I hereby appoint the Honorable CANDICE S. ANNOUNCEMENT BY THE SPEAKER Speaker, as we enter 2011, we find our- MILLER to act as Speaker pro tempore on selves in the same jobs situation as in this day.
    [Show full text]
  • CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
    M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos.
    [Show full text]
  • RCA Victor LJM 3000 10 Inch Jazz Series
    RCA Discography Part 34 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LJM 3000 10 Inch Jazz Series The LJM releases were dedicated to jazz recordings. LJM 3000 – Brad Gowans and His New York Nine – Brad Gowans [1954] Poor Butterfield/I'm Coming Virginia/Jazz Me Blues/Stompin' At The Savoy/Singin' The Blues/Clari-Jama/Carolina In The Morning/Jada LJM 3001 – Progressive Piano – Various Artists [1954] Cover by Andy Warhol. Out of Nowhere - Art Tatum/Erroll’s Blues - Erroll Garner/Get Happy - Andre Previn/Just Judy - Lennie Tristano/Oop’s My Lady - Beryl Booker/Plus one song by Ellis Larkins, Eddie Heywood, and Mary Lou Williams LJM 3002 – Mundell Lowe Quintet - Mundell Lowe [1954] Spring Will Be A Little Late This Year/Pantomime/Prelude To A Kiss/There Goes Rusty!/How Long Has This Been Going On/Darn That Dream/Spring Is Here/Street Of Dreams/Takin' The Blues For A Walk LJM 3003 – Jazz on the Campus – Max Kaminsky [1954] Jazz On The Campus/I Wish I Could Shimmy Like My Sister Kate/Shim-Me-Sha-Wabble/Whiffenpoof Song/If I Had My Way/Ugly Chile/Satanic Blues/Carey Me Back To Old Kaminsky RCA Victor LJM 1000 12 Inch Jazz Series LJM 1000 – Hot Mallets – Lionel Hampton [4/54] Stompology/I'm On My Way From You/Ring Dem Bells/Confessin' (That I Love You)/Shufflin' At The Hollywood/Memories Of You/Hot Mallets/I Surrender, Dear/Rhythm, Rhythm/I Can't Get Started/I Just Couldn't Take It, Baby/After You've Gone LJM 1001 – Barbara Carroll Trio – Barbara Carroll Trio [1954] I Want A Little Girl/What's The Use
    [Show full text]
  • JREV3.6FULL.Pdf
    KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5.
    [Show full text]
  • Aaron SACHS: Frank SACKENHEIM: Fats SADI: Eddie SAFRANSKI
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Fats SADI: "Ensadinado" Fats Sadi -vib; Jimmy Woode -b; Francy Boland -p; Kenny Clarke -d; recorded March 21, 1966 in Köln 16279 NIGHT LADY 4.18 Saba SB15111 16280 ENSADINADO 4.46 --- 16281 GOODBYE 3.16 --- 16282 THE SAME 5.06 --- 16283 ALL OF YOU 3.24 --- 16284
    [Show full text]
  • For Additional Information Contact the Archives Center at 202.633.3270 Or
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon.
    [Show full text]
  • The 2011 Annual Bridgewater State University Jazz Festival
    Born in San Francisco, California, Jeff Galindo attended Berklee College of The Bridgewater State University Music Department presents Music in Boston, Massachusetts on scholarship after high school. He also studied with Hal Crook, Jerry Bergonzi, and George Garzone with grants by the National Endowment of the Arts and began free-lancing in the Boston area. His The 2011 Annual experience includes tours of Europe with Phil Woods and Japan with Makoto Ozone, and tours with the Artie Shaw Orchestra. Jeff has performed with such Bridgewater State University notables as Chick Corea, Clark Terry, Joe Lovano, Buddy DeFranco, Slide Hampton, and Johnny Griffin. He has also performed with Gunther Schuller, Ray Charles, Aretha Franklin, Jerry Bergonzi, Bobby Shew, The Boston Pops Jazz Festival Orchestra, and Sam Butera among many others. In Boston, Jeff performs regularly with the Greg Hopkins Big Band and Nonet, The Galindo/Phaneuf Featuring: Sextet (with which he has released a new cd "Locking Horns" in 1998 and won Boston Magazines "Best of Boston" for a jazz group in 1999), plus his double The East Bridgewater High School Jazz Band quartet with George Garzone. He is currently one of the top free-lancing trombonists in the Boston area. The Bridgewater State Jazz Ensembles With special guest Jeff Galindo Jeff is an Assistant Professor at Berklee College of Music, teaching both trombone and jazz improvisation. He also has an extensive private teaching schedule. Jeff is in high demand as a guest artist and clinician at high schools and universities in Massachusetts, the United States, Canada, and Europe. Saturday In order to assist talented students in the pursuit of th their musical studies and professional goals, the February 12 , 2011 Department of Music has established the Music Scholarship Fund.
    [Show full text]
  • Thad Jones Chronology Copy
    Thad Jones Chronology Compiled by David Demsey • 1923/March 28 - Born, Pontiac Michigan; father a lumber inspector for General Motors, had moved to MI from Vicksburg, MS. One of ten children – Thad: “We lost one sister in a drowning accident, and Elvin had a twin brother that died at an early age, but the remaining eight survive.” (Source: liner of H. Jones Have You Met This Jones?) • Professional career began during high school (later 1930s) • C. 1936-7, started to play trumpet at age 14 • C. 1936 in Arcadia Club Band in Pontiac, MI, led by trumpet-playing uncle Bill; band also contained Hank Jones • C. 1939, Formed The Hungry Five, played school dances; contained pianist Vivian Scott, tenorist Dan Turner • Last year in high school (1939?) played in 13-piece band in Saginaw, MI; had first contact with Big Nick Nicolas and Sonny Stitt, formed group with others from Flint, MI, went on road for 2.5 years, broke up in Indianapolis • 1941 traveling with Connie Cornell band through South • 1943 in Dallas for about six months, with band led by altoist Red Calhoun • 1943/December-April 1946 – U.S. Army; first big band experience in G.I. band led by Jack Teagarden, Jr.; arranged for G.I. band that toured with the show “Bedtime Stories” • 1946, formed own band in Oklahoma City • 1946, played in Des Moines with Harold and Seymour Gray for 7 months • 1948, recorded Swing, Not Spring, w/Billy Mitchell, Terry Pollard, piano/vibes; James Richardson? Alvin Jackson?, b; Elvin Jones, d. • 1950-53 formed group with tenor saxophonist Billy Mitchell, also
    [Show full text]
  • Primary Sources: an Examination of Ira Gitler's
    PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
    [Show full text]