He was born in Inglewood, California. Sims' family was involved in vaudeville, and, for his part, John learned to play both drums and clarinet at an early age. Zoot's father was a vaudeville hoofer, and Zoot prided himself on remembering many of the steps his father taught him.
Following in the footsteps of Lester Young, Sims developed into an innovative tenor saxophonist. Throughout his career, he played with renowned bands, including Benny Goodman, Artie Shaw, Woody Herman, Stan Kenton, and Buddy Rich. He was known among his peers as one of the strongest swingers in the field. Sims frequently led his own combos and sometimes toured with his friend Gerry Mulligan with Gerry's sextet, and later with his Concert Jazz Band. Zoot had a long, successful partnership as co-leader of a quintet with Al Cohn, which recorded under "Al and Zoot". That group was a favorite at the New York club "The Half Note." Late in his career, Sims added the soprano saxophone to his performances. Sims' nickname — Zoot — was acquired early in his career while he was on the Kenny Baker band in California. The name was later appropriated for a sax-playing Muppet.
Zoot Sims died in New York on March 23, 1985.
(2) 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. ~ Scott Yanow, Rovi
Embraceable You
Zoot Sims Lyrics
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Embrace me, you irreplaceable you!
Just one look at you
My heart grew tipsy in me,
You and you alone
Bring out the gypsy in me!
Above all, I want my arms about you!
Don't be a naughty baby,
Come to papa, come to papa, do!
My sweet embraceable you!
Zoot Sims's song Embraceable You is a romantic ballad that describes the intense feelings of love and desire that the singer has for the person they are addressing as "you." The repeated use of "embrace me" highlights the physical longing that the singer feels for the object of their affection. The lyric "you irreplaceable you" suggests that the singer sees this person as unique and special, someone who cannot be substituted.
The line "just one look at you, my heart grew tipsy in me" is a powerful metaphor for the overwhelming emotions that love can bring. It suggests that the person the singer is addressing has a magnetic quality that draws him towards her. The next line, "you and you alone bring out the gypsy in me," enhances this idea further. The use of the word "gypsy" conjures up images of wanderlust and freedom, implying that the singer feels liberated and alive when he is with this person.
The final stanza speaks of the singer's desire to have the person in his arms. The use of the phrase "naughty baby" highlights the playful, teasing nature of the singer's request, while the repeated use of "come to papa" emphasizes the strong desire he feels to be close to this person. The final line, "my sweet embraceable you," brings the song full circle, reiterating the central theme of the song: love and physical closeness.
Line by Line Meaning
Embrace me, my sweet embraceable you!
Hold me close, my darling, I cannot resist you!
Embrace me, you irreplaceable you!
Only you can make me feel this way and no one can ever replace you!
Just one look at you
The moment I saw you,
My heart grew tipsy in me,
My heart began to race and feel dizzy,
You and you alone
No one else but you,
Bring out the gypsy in me!
Awakens my desire for adventure and a free spirit,
I love all, the many charms about you!
I adore and cherish every aspect of your uniqueness!
Above all, I want my arms about you!
Most importantly, I want to hold you close!
Don't be a naughty baby,
Do not be stubborn and resist my embrace,
Come to papa, come to papa, do!
Come to me, respond to my invitation to embrace me!
My sweet embraceable you!
You, my darling, are just irresistible and very loving!
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, Unison Rights S.L., Songtrust Ave, Peermusic Publishing, Warner Chappell Music, Inc.
Written by: George Gershwin, Ira Gershwin
Lyrics Licensed & Provided by LyricFind