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
The Girl From Ipanema
Zoot Sims Lyrics
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The girl from Ipanema goes walking
And when she passes, each one she passes goes - ah
When she walks, she's like a samba
That swings so cool and sways so gentle
That when she passes, each one she passes goes - ah
How can he tell her he loves her
Yes I would give my heart gladly
But each day, that she walks to the sea
She looks straight ahead, not at he
Tall, (and) tan, (and) young, (and) lovely
The girl from Ipanema goes walking
And when she passes, he smile - but she doesn't see
(Doesn't see)
(She just doesn't see, she never sees him)
The lyrics of "The Girl from Ipanema" describe a breathtaking woman who charms everyone as she walks along the beach. The song follows the perspective of a man who watches her every day from afar, yearning for her love, but unable to confess his feelings. The lyrics describe the girl as tall, tan, young, and lovely, and portray her walking as a form of samba that is so cool and gentle that it mesmerizes everyone that crosses her path. The song is not only about a beautiful girl, but it is also about a man's unspoken desire for her. He longs to express his feelings, but he is unable to do so, as the girl is always looking ahead when she walks, never glancing in his direction.
The song's lyrics convey a sense of longing and unrequited love. The man watches the girl every day, but she never notices him, and he wonders how he can tell her that he loves her. With each passing day, his desire for her grows stronger, yet he remains unable to express his feelings. The lyrics have a melancholic tone, conveying a sense of sadness and longing.
Line by Line Meaning
Tall and tan and young and lovely
The girl from Ipanema is beautiful and alluring in every possible way
The girl from Ipanema goes walking
She walks down the streets of Ipanema every day, captivating the hearts of everyone around her
And when she passes, each one she passes goes - ah
People around her are enchanted by her beauty and can't help but sigh in admiration
When she walks, she's like a samba
Her walk is rhythmic and graceful, perfectly in tune with the music of Brazil
That swings so cool and sways so gentle
Her movements are effortless and fluid, flowing like the waves of the ocean
That when she passes, each one she passes goes - ah
Once again, people around her are mesmerized by her presence and can't help but sigh in admiration
(Ooh) But he watch her so sadly
There's a man who watches her every day, but he does it with a heavy heart
How can he tell her he loves her
He's unable to express his love to her, as she doesn't even notice him
Yes I would give my heart gladly
He's so deeply in love with her that he's willing to give his heart to her without hesitation
But each day, that she walks to the sea
She walks to the sea every day, without paying any attention to him
She looks straight ahead, not at he
She's completely oblivious to his presence, as she only looks ahead and never notices him
The girl from Ipanema goes walking
She continues to walk down the streets every day, with everyone around her captivated by her beauty
And when she passes, he smile - but she doesn't see
He still smiles when she passes by, but she doesn't even acknowledge his existence
(Doesn't see)
(She just doesn't see, she never sees him)
Lyrics © O/B/O APRA/AMCOS
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