Customer Reviews

Basie & Zoot

5 star:		(8)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Zoot Sims never played in Count Basie's band; too bad ! A lesterian tenor player,and a very very talented one,he could have made magnificent things in this orchestra.This extraordinary 1975 reunion,a quartet one,with John Heard on bass and Louie Bellson on drums,let us discover an outstanding piano player,Count Basie,and an amazing tenor player,Zoot Sims."I never knew" is almost as furious as Lester's version,in the god old days;Bellson's telluric drumming marvels here.Don't forget that Louie Bellson,born Luigi Balassoni in 1924,and still alive,happened to be Duke Ellington's drummer in the early fifties,just before the immense Sam Woodyard."It's only a paper moon",a Nat King Cole's classic,offers great opportunities for Zoot and Count to solo.Now,after these two tracks,you know that Basie was a stride piano player."Blues for Nat Cole",dedicated to the King,is a typical Kansas City blues,in which Bellson introduces the theme with a Jo Jones-like charleston playing.Zoot is at his most lesterian playing,something he did like no one could.This damned Irish man could really swing like mad!!! Bellson's drumming is perfect,always in K.C's mood,and his Buddy Rich-like precise and definitive playing ,with many shades of Jo Jones,marvels all through the tune."Captain Bligh",another blues,includes some very economical but very swinging playing by the Count,and again,some very lesterian (so some very very swinging) playing by Zoot.He really plays great here ! Fats Waller's classic "Honeysuckle rose" is beautifully played by Basie,who learned from Fats how to play organ,and some piano tricks too.Then comes Zoot for another very swinging solo."Hardav" is the blues,reminding of the old "Harward blues" that Little Jimmy Rushing used to sing with the band,many years ago."Mean to me" belongs to Billie Holiday since that recording session of May 11,1937,but here,Zoot blows a perfect response to Billie's singing,38 years before.Finally,"I surrender dear" introduces Basie playing organ (with a sound reminding of his mentor,Thomas Waller),and beautiful ballad playing by ZootSims on this tune that Coleman Hawkins made his,many years ago.A very beautiful meeting between two men who should have played together for a long time,but who never recorded together.And a great opportunity to discover Count Basie's piano playing,one of the most original ones of jazz.

What a beautiful no nonsense album! I have been a fan of Zoot and the Count for decades but this is the first time I've heard them together (1975) and it's the first time since the early Decca sides that I've gotten a chance to hear the Count stretch out. Good grief what a clinic in straight ahead swinging piano playing. My last records of Zoot were from the 50's. He has changed somewhat in his tone (heavier and a little rougher) and his style (a little more economical and less complex - if that's possible). Occasionally I will hear an old Zoot phrase sneak in - anyway, he still swings in the unique Lesterian sense. The real pleasant surprise to me is the bassist John Heard who is new to me. What a wonderful line he lays down. Finally, Louie Bellson is unobtrusive while firmly driving the group.

Quite a toe-tapper, actually. Nice to hear Basie show his stuff in an uncluttered context. Zoot is also in fine form, as they are mutually inspired. With the tasteful support of bassist John Heard and drummer Louie Bellson, they play at the peak of their creative abilities. Basie's rare and effective use of electric organ on the last number, the ballad entitled "I Surrender, Dear", is an added treat. Highly recommended to fans of small band swing.

A great disk, and a rare one that showcases Basie without an orchestra backing him up. Zoot fills in the gaps beautifully, particularly on "I Never Knew" and "Captain Bligh". Basie proves again his amazing ability to create an entire rhythm around a single note.

The Count with his striding Basie blues with that sweet unmistakably bluesy Lester Young inspired sound Ala the Zoot Sims both together on this CD cut in 1975 is a nice little treasure of these then 2 older guys stretching out knowing their lessons of life really well.
Showcasing Basie's swing piano and interesting enough an organ, Zoot's flying tenor with the walking bass of John Heard and the veteran drumming of Louis Bellson made a grand small group session that created excitement that is heartfelt with choice material.It sounds like this was an album that all enjoyed laying down together.

I agree with the previous reviewer. However, on this CD Basie shows not just his ability to "create an entire rhythm round a single note", but also his ability to go back to his roots in the stride style and to play full blooded two handed stride piano. "I Never Knew" and "Blues for Nat Cole" are wonderful illustrations of how dynamically Basie could play when he wished to.

Sims is also in great form, the rhythm section is supportive but unobtrusive (no time is wasted on bass solos),and this is a delightfully hard - swinging disc. Recommended.

I had never heard Count Basie without a big band around him and I was quite impressed - except for what I felt was his inappropriate use of the organ on one tune. Zoot swings through the set impeccably while John Heard on piano contributes nicely. Louie Bellson proved he could still drive a combo here. All in all a very satisfying record that would fit well in most collections and is a must have for Basie or Zoot fans.

I first got this album in 1980 (or so) (back when you could still get Vinyl). Back then I was a Basie big-band fan and this was my first introduction to Zoot Sims. I liked it pretty good back then.

Recently, I got this on CD to listen to it again (I really need to get a turntable to re-animate my old albums!).

This time around, I think I was able to appreciate this on an entirely different level. It's clear that this is just a couple of friends having a good time playing some music that they themselves enjoy playing. I am sure that I enjoyed this music so much more the second time around!

For as good a saxophone player as Zoot Sims is, this is Basie's album from start to finish. John Heard is a workmanlike bass, no embarrassment, no added bonus having him on the record. Louis Bellson is a fine drummer whose traded fours and occasional solos offer diversion but don't really change the chemistry of the album. Zoot is, as always, a consummate soloist, and Benny Green is right when he writes in the liner notes that Zoot performs best, and hottest, when he plays relaxed. He doesn't need heating up. And for his kind of playing, who better than Mr. Cool himself, Count Basie? Basie's minimalist piano work is a wonder. Listening to it, you hear echoes of stride, the best of Kansas City swing, and a harbinger, of, of all things, of Thelonious Monk's unorthodox take on chording and the use of space in solos. They should prescribe listening to Basie soloing to anyone who has a blood pressure problem. The best cuts for me on this good but not excellent album are the first seven, where Basie plays piano. On cut #8, "I Surrender, Dear," Basie moves to the Hammond organ. Sims's solo is one of his best on the record, a heartfelt, subtly swinging ballad. Basie isn't bad on organ, but the instrument slows him down. It's mechanical. In the process, we lose one of the glories of modern and pre-modern jazz, which is the opportunity to listen one more time to the subtle but incessant swinging pulse that underpins every note of melody that the Count plays.

Not fantastic fidelity, but pretty decent for the time it was recorded. This album has much good music from beginning to end. What great talents are in showcase here!