Billboard : 03/02/1957
Score of 76

Tenor sax is Sims instrument, of course, but here in his first recorded alto and baritone soloing, he proves that he could make the varsity by means of any one of these. He has been recorded as the only horn on that date, but via multiple tracking, he is sometimes heard on all three simultaneously, forming a lively sax section. Sims is on a rather mellow kick most of the way and keeps things light and fairly tasty. He has had better showcases in two other recent releases on other labels. Material is all by George Handy, not all of it is interesting.

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Cashbox : 03/09/1957

Zoot Sims takes on the sax family on this ABC-Paramount release, and through multiple tracking magic up to 3 sax sounds on one session (i.e. Pegasus and Major-Major) are produced. Both the jazzmanship and technical aspects of the disk come off extremely polished as Zoot Sims with piano, bass and rum support swings through 8 creations by arranger-composer George Handy. Mr. Sims’ sax talent and versatility are expertly expressed on the pressing.

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Army Times
Tom Scanlan : 03/23/1957

Zoot Sims, one of the very best tenor men any musically wise listener could hope to hear, is also skilled at alto and baritone as a new LP proves. Now and then Zoot plays all three horns at the same time, thanks to some fancy tape dubbing. He is backed by a three-man rhythm section and arrangements are by George Handy. Drumming by Gus Johnson is superb throughout. Most enjoyable tracks, to my taste, are Zonkin’, Noshin’, and Major-Minor.

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Washington Post
Paul Sampson : 03/03/1957

Zoot Sims plays alto and baritone as well as tenor on an ABC-Paramount LP, sometimes playing all three simultaneously through tape dubbing. It’s a good set, but I think the dubbing and the arrangements (by George Handy) are sometimes too constricting. There is enough of relatively unfettered Sims to make this worthwhile, however. Good accompaniment by Johnny Williams, Knobby Totah and Gus Johnson.

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Down Beat : 04/04/1957
Dom Cerulli : 4 stars

Zoot and George Handy combined to make this a swinging contribution to record libraries. Handy’s writing is as constantly alive and imaginative, as Zoot’s playing is forceful and swinging.

Through multiple taping, Zoot blows all three horns in unison opening and closing passages, soloing on various saxes in the body of the compositions. He applies his tenor bit to the alto, with hard-swinging results. He doesn’t seem quite at home yet on the bary, but he gets a gutty sound out of it, and a humorous solo, too, on Major-Major.

On Blinuet, a minuet in blues form, Zoot solos on alto and later on tenor. On Trouble, he plays a moving tenor solo. He even sings, in an economical Teagardenish voice, on Where You At? [Artist1046728,Johnson[‘s backing and solo spots are meaty, as are Totah‘s. Williams contributes bouncing piano. But it is Handy’s writing and Zoot’s tremendous versatility which win the laurels here.

The packaging is attractive, and the sound is lustrous.

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Liner Notes by Herbert J. Morrison

This album is a momentous occasion in the recording field. It brings together the saxophonists-saxophonist, and the arrangers-arranger, resulting in a plethora of moving jazz sounds digestible to any palate, especially the listeners-listener.

Zoot, one of the foremost delineators of the modern “Neck Strap” school, has been blowing up a storm for many a musical moon. From his emergence from Inglewood, CA, in the swing era, up until today, he has constantly received accolades from the inner-aficionados of the jazz world.

His first real niche was attained when he became one of the original “Four Brothers” within Woody Herman‘s rampaging second herd of 1947. To this day the original members of the group, Serge Chaloff, Stan Getz, Herbie Steward, and Zoot, are considered the answer to a frustrated saxophone section’s prayer.

Zoot first earned his spurs in the big band field with Bobby Sherwood. Then to “The Ray,” Benjamin Goodman, for whom he played on four different occasions when Benny tired of his country squire solitude and returned to macadam band road. It was during one of these jaunts that Zoot received all the praise from the European Jazz critics. Since then, Europe, as well as the far east and all corners of the globe, has echoed the praises of the inimitable Mr. Sims’ playing.

During the last few years he’s been plugging away as anchor man in the Gerry Mulligan group, both musically and spiritually. For the last six months he’s been leading first, a quintet, and as of three months ago, a quartet, fulfilling bookings in the top jazz clubs and concert halls throughout the land.

George Handy achieved his first acclaim for the startling modern scores he turned out for the Boyd Raeburn aggregation of the early 40s. He was the forerunner of the classic-jazz sounds from a dance band. Top arrangers like Johnny Mandel and Bob Brookmeyer claim it was Handy who inspired them to write.

It was George’s idea for Zoot to record double and triple tracks, playing alto, tenor, and baritone.

Listen and exalt to the humor, verbosity, time, and taste of George Handy and Zoot Sims.

For many a moon the musical world will be titillated by these giants and their contributions to jazz.

Side One
Blinuet
An infectious, delightful composition, consisting of a reminiscence of the Minuet in G plus a blending of the Blues results in a minuet in Blues form. A keen insight to the great sense of humor of George Handy.

The melody is carried by 2 altos and tenor ensemble. Choruses: alto with 2 tenor background on second half of chorus, piano, tenor, bass, then back to melodic harmony.

The Trouble With Me Is You
A beautiful ballad written nine years ago by George, with lyrics by Jack Segal. Zoot’s soulful tenor playing dominates thruout this side. A fine example of how much heart Mr. Sims has.

Where You At?
A sprightly paced novelty tune written by George Handy, lyrics by Jack Segal. Sung by Zoot in a real happy manner reminding me of Jack Teagarden‘s singing in his younger days. Tenor solo follows vocal, then piano, back to vocal, close with Zoot’s driving, dynamic, tenor solo.

Zonkin’
Another of Handy’s different sounding melodies consisting of alto free though solo intro, into alto, tenor, baritone ensemble, which carries the melodic line. Then comes Zoot’s biting alto, followed by John Williams piano, into 4 bar apiece noodles by Zoot on tenor and Gus Johnson on drums, back and forth, into Knobby‘s swingin’ bass solo, and back to the melody. Dig Gus’ chorus, reminds me of the old Sid Catlett way of toying with sticks.

Side Two
Noshin’
An alto, tenor and baritone ensemble melody. Followed by tenor solo, into piano solo, then alto, to bass, then another of Zoot and Gus Johnson’s 4 bar apiece answers to each other, into melody and out. The tempo which didn’t vary an inch thruout amazed everyone. This was I think the swingin’est side in the album.

Major-Major
Alto, tenor, baritone, ensemble melodic line with bari solo last 4 bars of release, then next two choruses are baritone. John Williams piano solo follows, then into tenor solo to the ensemble melody, (alto, tenor, bari), with alto solo taking the last 4 bars of melody, into ensemble sound again with diminishing fade out. Listen to Zoot’s humorous baritone solo. The man is amazing, first time he’s been recorded on the instrument. Truly a tremendous musician.

Minor-Minor
Melody line played by alto, tenor, bari, ensembles with last 4 of release a baritone solo. Tenor follows, then piano, into ensemble melody again and baritone solo last 4 of release into finis. Real odd melody written by George Handy’s wife Flo, a great talent in her own right.

Pegasus
Alto, tenor and bari melody, (ensemble sound) consisting of alto solo while tenor and bari play release. Then in order, alto solo, piano, then tenor, back to the ensemble sound into the climax with all three horns interweaving the last release back and forth. This is also a swingeroo!

This is the debut on wax for Zoot’s magnificent alto as well as his humorous swingin’ baritone. Keep in mind also that all the horns on the date were played by Zoot (alto, tenor, bari), which involved making 2 and three tracks in order to obtain an ensemble sound. Truly a great date.