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
It Don't Mean a Thing
Zoot Sims Lyrics
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If it ain't got that swing
(doo wah, doo wah, doo wah, doo wah
Doo wah, doo wah, doo wah, doo wah)
It don't mean a thing
All you got to do is sing
(doo wah, doo wah, doo wah, doo wah
Doo wah, doo wah, doo wah, doo wah)
If it's sweet or hot
Just give that rhythm
Ev'rything you got
Oh, it don't mean a thing
If it ain't got that swing
(doo wah, doo wah, doo wah, doo wah
Doo wah, doo wah, doo wah, doo wah)
"It Don't Mean a Thing" is one of the most famous jazz standards written by Duke Ellington in 1931 with lyrics by Irving Mills. Zoot Sims' version of the song maintains the upbeat, swing energy and emphasizes the importance of rhythm and metrical pulse in jazz music. The lyrics declare that it doesn't matter what you're playing or singing, as long as it has that swing – it makes no difference if it's sweet or hot, as long as you give that rhythm everything you've got.
The phrase "it don't mean a thing" is repeated throughout the song, creating a hook that emphasizes the song's message. The use of nonsensical syllables ("doo wah") creates a sense of rhythm and musicality even without actual words. The song's refrain reinforces the importance of rhythm in jazz music and stresses the idea that jazz is not just a genre but a feeling and an attitude. It is a call to musicians and listeners to embrace the improvisational, free-flowing spirit of jazz that is rooted in swing.
In conclusion, "It Don't Mean a Thing" is a timeless jazz standard that encapsulates the essence of swing music. It emphasizes the importance of rhythm in jazz and encourages musicians and listeners to embrace the improvisational spirit that is the hallmark of the genre.
Line by Line Meaning
It don't mean a thing
The song lacks significance
If it ain't got that swing
Unless the song has the right rhythm or beat, it's insignificant
(doo wah, doo wah, doo wah, doo wah
Instrumental fill
Doo wah, doo wah, doo wah, doo wah)
Instrumental fill
It don't mean a thing
The song lacks significance
All you got to do is sing
Just singing the song is enough
(doo wah, doo wah, doo wah, doo wah
Instrumental fill
Doo wah, doo wah, doo wah, doo wah)
Instrumental fill
It makes no diff'rence
It doesn't matter
If it's sweet or hot
Whether the song is slow or fast
Just give that rhythm
Play the beat
Ev'rything you got
Play it with everything
Oh, it don't mean a thing
The song still lacks significance
If it ain't got that swing
Unless the song has the right rhythm or beat, it's insignificant
(doo wah, doo wah, doo wah, doo wah
Instrumental fill
Doo wah, doo wah, doo wah, doo wah)
Instrumental fill
Lyrics © Kanjian Music, BMG Rights Management, Sony/ATV Music Publishing LLC, Capitol CMG Publishing
Written by: Duke Ellington, Irving Mills
Lyrics Licensed & Provided by LyricFind