James Moody - Septet 1951~1955

 

James Moody (1925-2010), born in Savannah, Georgia, and raised in Newark, New Jersey, developed a passion for music during his teenage years. At 16, he received an alto saxophone and began practicing tirelessly. It was over a year later that he discovered his fondness for the tenor saxophone. While serving in the Army from 1943 to 1946, Moody received musical training and learned the rudiments of the instrument. Shortly after being discharged in the summer of 1946, Moody joined Gillespie's big band. His talent as a soloist garnered attention, blending the innovative styles of Parker and Gillespie with his own approach. However, despite making his recording debut as a leader in 1948, his career seemed to stall.
Early in 1949, quite discouraged, Moody decided to head to Paris, where he found success as a recording artist and collaborated with notable musicians like Miles Davis and Max Roach. He also traveled to Stockholm, recording with Swedish musicians. After his European experience, Moody returned to the US in 1951, signing with Mercury Records and embarking on extensive tours of one-night performances, playing a pivotal role in broadening jazz's appeal among the general public. Ralph Gleason, writing for the San Francisco Chronicle, described Moody’s band as "one of the best small groups in the country, a tightly knit yet loosely swinging unit".
Moody's first recordings with Mercury and subsequent albums for Prestige Records from 1951 1955 showcased his leadership, musical prowess, and his versatility and skill on both alto and tenor saxophones. His septet with musicians like Dave Burns, Pee Wee Moore, and singers Babs Gonzales and Eddie Jefferson resulted in memorable performances. Moody's records captured not just the danceable rhythms but also delved into intricate jazz arrangements, catering to a more discerning audience. Despite facing challenges in gaining recognition from critics and being labeled as a rhythm and blues musician, these Moody's recordings reveal a modern and robust swinging sound reminiscent at times of the Gillespie-Tadd Dameron style, constantly captivating and attracting attention. *Jordi Pujol*

James Moody

The Moody Story

The Complete Mecury, Emarcy & Prestige Recordings

Making his name associated with his mentor Dizzy Gillespie, James Moody carved his own niche as one of the most bebopping sax and flute players of modern jazz. This three disc set covers his more obscure year on the Mercury, Emarcy and Prestige labels, and they are a joyous treat.

The first CD focuses his sessions from 1951-1954, starting with a swinging team of Moody with Cecil Payne/bsax, John Grimes/tp and Johnny Acea/p in a septet session with Moody's alto swooning on "Serenade In Blue" and his tenor digging into "Wiggle waggle". Moody has a bit of Lester Young in his sound on a 1952 reading with "Hey Jim" and "St. Louis Blues" while his alto is reminiscent of Johnny Hodges during "Hey Jim". Moody even sings a bit on "The James Moody Story" while his alto sounds California Cool on "Feelin Low". Bop vocalist Eddie Jefferson gets hip on "Workshop" and in 1955 returns for a loose blues of "Disappointed" and flexible "I Got The Blues". Bassist John Latham is hip on "Blues In The Closet" and some thick textures get into an Afro Cuban mood for "Mambo With Moody". The team shuffles with vocalist Iona Wade on "That Man O’Mine" and the Moody digs in deep for Benny Golson's "Blue Walk".

Golson's pen continues to be heard on a 1955 session with Moody's tenor gorgeously breathy on "The Nearness of You" and jamming with a JATP feel with Dave Burns/tp, William Shepherd/tb, Numa Moore and Jimmy Boyd on "Jammin' With James" and Moody’s alto preaching it on "Wail Moody Wail". The boxed set also includes two informative booklets about the recordings as well as well researched studio info. This is the music that made modern jazz, well, MODERN! When did it start sounding so old, as it does today? *George W. Harris*

The Fresh Sound label from Barcelona, Spain has during the past couple of decades put out hundreds (probably thousands at this point) of superior jazz reissues, most from the 1945-1965 period. Thanks to the diligence of Jordi Pujol, a countless number of sessions have been saved from obscurity and been given the attention and packaging that they deserve.

Recent reissues include a pair of box sets featuring American saxophonists who first emerged during the classic bebop era. One of them dedicated to James Moody (1925-2010). He was a lovable character on stage, playing tenor, flute and (earlier in his career) alto in a forward-looking bebop style. He worked with the Dizzy Gillespie Big Band during 1946-48 and was in Europe for a few years where his recorded alto solo on "I’m In The Mood For Love" became the basis for Eddie Jefferson's vocalese classic "Moody’s Mood For Love". Moody was part of the Dizzy Gillespie Quintet for a long period in the 1960s and spent his later years as a leader and freelancer.

Often overlooked is that Moody, after returning from Europe, led a regular septet during 1951-55. While the 1950s are thought of as one of jazz's golden eras, Moody would not have been able to keep his group together if he did not pay close attention to what his audiences wanted. In addition to bop-oriented jams, he caressed the melodies of ballads, included some spirited riff-based romps inspired by early rhythm & blues, and keep solos short, particularly those of his sidemen.

The three-CD set James Moody Septet 1951-1955 has all of Moody’s recordings as a leader during that period of time. Originally released by Mercury and Prestige, these sessions feature Moody leading a group consisting of his tenor and alto (flute would come slightly later), trumpet (usually Dave Burns), trombone, baritonist Pee Wee Moore, and a rhythm section that sometimes included Argonne Thornton or Jimmy Boyd on piano. There are also two vocals from Babs Gonzales, three from Eddie Jefferson, and one from the long-forgotten Iona Wade. Among the arrangers are Quincy Jones and Benny Golson. The music alternates swinging numbers with ballads and features James Moody (the dominant soloist) very much in his early prime whether on tenor or alto.

This box set has extensive and definitive liner notes from Jordi Pujol along with superior sound.

Highly recommended. *Scott Yanow*

*CD 1*

Mecury / Emarcy & Prestige Recordings

1 - Serenade In Blue

(Warren, Gordon)

2 - Margie

(Davis, Conrad, Robinson)

3 - Moody's Home

(James Moody)

4 - Wiggle Waggle

(James Moody)

5 - Until The Real Thing Comes Along

(Holiner, Nichols, Cahn, Chaplin)

6 - Hey Jim

(James Moody)

7 - Moody's Theme

(James Moody)

8  - My Ideal

(Robin, Whiting, Chase)

9 - The Bite

(James Moody)

10 - Poor Butterfly

(Golden, Hubble)

11 - My Ideal

(Robin, Whiting, Chase)

12 - St. Louis Blues

(W.C. Handy)

13 - The James Moody Story

(James Moody)

14 - And Now Moody Speaks

(James Moody)

15 - Feelin' Low

(Parrish, Smith, Bishop)

16 - Wail Bait

(Quincy Jones)

17 - N.J.R. (I'm Gone)

(Quincy Jones)

18 - A Hundred Years From Today

(Young, Washington)

19 - Keepin' Up With Jonesy

(Quincy Jones)

20 - Workshop

(Walter Fuller)

#1 to #4:

John Grimes (trumpet), Bob Range (trombone), James Moody (alto sax, tenor sax), 

Cecil Payne (baritone sax), Johnny Acea (piano), Larry Goins (bass), Chink Williams (drums).

Recorded at Fulton Studios, New York City, October 1951

#5 to #8:

Dave Burns (trumpet), Donald Cole (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano), Larry Goins (bass),

Teddy Stewart (drums), Babs Gonzales (vocal #6).

Recorded at Fulton Studios, New York City, May 21, 1952

#9 to #12: 

Dave Burns (trumpet), [Unknown] (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano),

Larry Goins (bass), Teddy Stewart (drums).

Recorded at Fulton Studios, New York City, June 6, 1952

#13 to #16:

Dave Burns (trumpet); Donald Cole, Bennie Green [added on #13,#14] (trombones);

James Moody (alto sax, tenor sax, vocal #13); Numa "Pee Wee" Moore (baritone sax);

Argonne Thornton (piano); John Latham (bass);

Teddy Stewart (drums); Babs Gonzales (vocal #13).

Recorded at Fulton Studios, New York City, June 15, 1953

#17 to #20:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Argonne Thornton (piano),

John Latham (bass), Joe Harris (drums), Eddie Jefferson (vocal #20).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, January 8, 1954

*CD 2*

Prestige Recordings

1 - That Man O'Mine

(Wade, Jones, Newbolt)

2 - Over The Rainbow

(Arlen, Harburg)

3 - Jack Raggs

(James Moody)

4 - Mambo With Moody

(Quincy Jones)

5 - It Might As Well Be Spring (take1)

(Rodgers, Hammerstein II)

6 - It Might As Well Be Spring (take 2)

(Rodgers, Hammerstein II)

7 - Blues In The Closet

(Oscar Pettiford)

8 - Moody's Mood For Blues

(Moody, Jones)

9 - Nobody Knows The Trouble I’ve Seen

(Traditional)

10 - I've Got The Blues

(Eddie Jefferson)

11 - Blue Walk

(Benny Golson)

12 - Faster James

(Quincy Jones)

13 - There Will Never Be Another You

(Warren, Gordon)

14 - Disappointed

(Eddie Jefferson)

15 - Hard To Get

(Jack Segal)

16 - Little Ricky

(Johnny Acea)

#1 to #4:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Joe Harris (drums), Iona Wade (vocal #1).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, April 12, 1954

#5 to #16:

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Clarence Johnston (drums),Eddie Jefferson (vocal #10, #14) 

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey, September 29 (#5 to #8), 1954;

January 28 (#9 to #12), 1955 and August 23 (#13 to #16), 1955

*CD 3*

Prestige Recordings

1 - Big Ben

(Benny Golson)

2 - Little John

(John Lathan)

3 - Show Eyes

(Johnny Acea)

4 - And You Called My Name

(Benny Golson)

5 - Jammin' With James

(Moody, Burns)

6 - The Golden Touch

(Quincy Jones)

7 - The Nearness Of You

(Carmichael, Washington)

8 - Donkey Serenade

(Stothart, Friml, Forrest, Wright)

9 - Moody's Blue Again

(Quincy Jones)

10 - The Strut

(Benny Golson)

11 - A Sinner Kissed An Angel

(David, Joseph)

12 - Wail Moody, Wail

(Moody, Burns)

Dave Burns (trumpet), William Shepherd (trombone), James Moody (alto sax, tenor sax),

Numa "Pee Wee" Moore (baritone sax), Jimmy Boyd (piano),

John Latham (bass), Clarence Johnstons (drums).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey,

August 24 (#1 to #5) and December 12 (#6 to #12), 1955

Rare And Obscure Argo Recordings (XXV)

James Moody

James Moody

James Moody's self-titled disc from 1959 is a solidly swinging date that finds Moody splitting his time between flute, alto, and tenor sax. His sextet is made up of mostly obscure players, though trumpeter Johnny Coles had a couple of records as a leader. The session was the first for Moody following his stay at Overbrook Hospital and he certainly sounds rejuvenated on uptempo tunes like "Daahoud," "Darben the Redd Foxx", and "Cookie". His work on flute is especially nice on the ballads "Little Girl Blue" and "Yesterdays". Best of all is "R.B.Q.", a funky blues workout that closes the record in style and features Moody on tenor blowing his soul out. This record is a fine example of what makes Moody so wonderful; his exuberance, thoughtfulness, and soul make him one of the greats. If you haven't discovered him yet, this is a good place to start. If you're already hip to the man, this is a vital addition to your collection. *Tim Sendra*

Great work from Moody's "second phase" — the post-Overbrook time in which he picks up the flute, drops a bit of the bop style, and starts working in a much more complicated style that showed that he had a hell of a lot of room to grow as an artist! This album's Moody's second for Argo — recorded in 1959, with help from the brilliant arranger Tom McIntosh. Players include Johnny Coles, Musa Kaleem, Gene Kee, and McIntosh — and the album features the first reading of Moody's famous "Darben The Redd Foxx", plus "Cookie", "RBQ", "Daahoud", and McIntosh's perennial favorite, "With Malice Toward None".  *Dusty Groove, Inc.*

James Moody’s last album, Last Train From Overbrook, was his first recorded step back from a darkness that had engulfed the career of a distinguished jazz musician. It was made in September of 1958, following his half-year tenure at Overbrook, a New Jersey institution at which a sick and alcoholic Moody regained physical and mental health.

This album is the second step back. It was recorded almost exactly one year later, a year during which Moody had reorganized his seven-piece group and had painfully scuffled for bookings that would support it. And it was a year in which Moody established for himself a basis on which he can once more become one of the best-known names among jazz saxophonists and flutists.

During the recording session, Moody once again had a bottle as his companion — a quart of root beer. At the date’s end, as he was packing his tenor saxophone, he eached into the case and pulled out a pint bottle of cheap wine. It was sealed tight, and on the label he had scratched, "Washington, D.C., 1958". 

"I always carry it with me", he said. "Just to remind me". *Jack Tracy (liner notes)*

1 - Darben The Redd Foxx

(James Moody)

2 - Little Girl Blue

(Rodgers, Hart)

3 - Out Of Nowhere

(Green, Heyman)

4 - Daahoud

(Clifford Brown)

5 - Yesterdays

(Kern, Harbach)

6 - Cookie

(Gene Kee)

7 - With Malice Toward None

(Frank McIntosh)

8 - R.B.Q.

(Gene Kee)

James Moody (flute, alto sax, tenor sax), Johnny Coles (trumpet), Tom McIntosh (trombone),

Musa Kaleem (baritone sax), Gene Kee (piano), John Latham (bass), Clarence Johnston (drums).

Recorded in Chicago, Illinois, August, 1959

✤

To be continued...

Roger Guérin - Paris Meetings

At the end of the 1940s, young French jazz musicians started flocking towards the two styles of modern jazz — bebop and cool. Paris was the capital of European jazz, and the talent of the local musicians playing in Parisian clubs was often comparable to that of their American colleagues. In that league, we found mostly French and some Belgian names, such as Bobby Jaspar, Martial Solal, Pierre Michelot, Maurice Vander, Jean-Louis Viale, Benoit Quersin, René Thomas, Barney Wilen, René Urtreger, and several others.

This album is dedicated to one of them in particular: trumpeter Roger Guérin (1926-2010). Despite having very few recordings under his name and spending most of his career as a sideman, Guérin was never underappreciated by jazz fans and critics: after all, he was chosen as the best French jazz trumpeter ten years in a row (1955-65) by the "Jazz-Hot" readers' and critics' poll. In these sessions we find him alongside great American jazzmen like James Moody, Jimmy Raney, Benny Golson and Bobby Timmons, but also in the company of his French comrades, giving his best in every performance.

He was involved in many of the projects that pushed the evolution of modern jazz in France. An arranger of the stature of Billy Byers, who worked in Paris for a while in 1956, described him like this: "There are some very good musicians in France: Roger Guérin is a great jazzman".

*Jordi Pujol* 

Roger Guérin

Le Formidable Roger Guérin

Paris Meetings

Best known for his stint with Quincy Jones' Big Band, Roger Guérin had a formidable career in Paris, being first call to sit in with the likes of Don Byas, Django Reinhardt and James Moody. This collection of sessions from the 50s has him co-leading a hard bop team with Benny Golson, leading his own quartet along with Christian Grros, Pierre Michelot and Martial Solal and fitting in as a sideman for guitarist Jimmy Raney or saxist James Moody.

The sessions with Moody have the Parker disciple  bouncing to "Deep Purple" and swooning on "More Than You Know", and with Raney at the helm the team gets more lithe and open sounding with Guerin and Raney doing winders with "Too Marvelous For Words" and luminescent on "What’s New". Golson's band sounds a lot like an Art Blakey session with Bobby Timmons at the piano, and the quintet does material from the drummer's songbook with muscular reads of "Blues March", "I Remember Clifford" and a hot "Moanin'". Guerin mixes the lyricism of Miles Davis with the gentleness of Chet Baker. You’re gonna like this cat! *George W. Harris*

1 - Deep Purple

(Peter De Rose)

2 - Bootsie

(James Moody)

3 - More Than You Know

(Youmans, Rose, Eliscu)

4 - Too Marvelous For Words

(Whiting, Mercer)

5 - Night And Day

(Cole Porter)

6 - Dinah

(Akst, Lewis, Young)

7 - What's New

(Haggart, Burke)

8 - Night In Tunisia

(Gillespie, Pappareli)

9 - Sweet Feeling

(Pierre Michelot)

10 - Ça Tourne

(Roger Guérin)

11 - Buggy And Soul

(Christian Chevallier)

12 - Vline

(Christian Chevallier)

13 - Chet

(Pierre Michelot)

14 - Mythe

(Pierre Michelot)

15 - Blues March

(Benny Golson)

16 - I Remember Clifford

(Benny Golson)

17 - Stablemates

(Benny Golson)

18 - Moanin'

(Bobby Timmons)

19 - Not Serious

(Roger Guérin)

#1 to #3:

originally issued as part of the album James Moody Quintet (Vogue LD 036)

Roger Guérin (trumpet), James Moody (alto sax), Raymond Fol (piano), Pierre Michelot (bass), Pierre Lemarchand (drums).

Recorded in Paris, July 27, 1951.

#4 to #7:

originally issued as part of the album Jimmy Raney Visits Paris (Dawn DLP-1120)

Roger Guérin (trumpet), Jimmy Raney (guitar), Maurice Vander (piano), Jean-Marie Ingrand (bass), Jean-Louis Viale (drums).

Recorded in Paris, February 10, 1954.

#8 to #10:

from the álbum Roger Guérin Quartet (Versailles 90 S 128)

Roger Guérin (trumpet), Martial Solal (piano), Pierre Michelot (bass), Christian Garros (drums), Dave Rivera (conga [#8, #10]).

Recorded in Paris, July 1956.

#11 to #14:

from the album Christian Chevallier Jazz Quartet (Columbia ESDF 1139)

Roger Guérin (trumpet), Christian Chevallier (piano), Pierre Michelot (bass), Christian Garros (drums).

Recorded in Paris, November 13, 1956.

#15 to #19:

from the album Roger Guérin-Benny Golson with Bobby Timmons (Columbia FP 1117)

#15 to #18:

Roger Guérin (trumpet), Benny Golson (tenor sax), Bobby Timmons (piano), Pierre Michelot (bass), Christian Garros (drums).

Recorded in Paris, December 12, 1958.

#19:

Roger Guérin (trumpet), Michel Hausser (vibes), Martial Solal (piano), Pierre Michelot (bass), Christian Garros (drums).

Recorded in Paris, December 18, 1958.

James Moody - Flute 'N The Blues

When a musician as high up on the musical ladder of success as James Moody completes a two-day recording session, sandwiched between two distant in-person engagements, with a glowing look of satisfaction, you listeners and legion fans can be assured that the finished product, herewith enclosed, is a real "gasser"...

The true essence of Jazz is maintained throughout the 10 tunes on this LP... Swing... Creativeness... Individuality of Conception... Positive, Professional approach... AND... The ability to Interpret the Composers Original Idea, so that even he may recognize it!!! How rare this last talent, Indeed...

Material-wise, the music here-in is either "Blues" or a "Standard". The title tune of the album, "Flute 'N The Blues" showcases MOODY on his newly conquered instrument, the ever-lovin' Flute... (Evidently a new-found necessity in todays Modern Jazz Scene). The way James gets down into it should have "flautists" galore hitting the wood-shed trail. On "Flute N'", and "BOO'S TUNE", with just the rhythm section him, J. Moody really does what he so aptly calls, "The Thing"... I Think you'll agree that, "The Thing" is really it!

"CREATIVE" is the most happy to welcome JAMES MOODY his FLUTE, TENOR, ALTO, MIND, and BAND into our select group of JAZZ ARTISTS... The recording date was a ball to do, and I'm sure those of you "ear" this LP, the finished High Fidelity Product, will also have a glowing look of satisfaction upon your happy faces. *Joe Segal (liner notes)*

Recorded soon after Moody had taken up the flute demonstrate that he could already put the instrument to rewarding jazz use. This album advertises the instrument’s presence in its title, Flute ‘n’ The Blues, although there is also plenty of the Moody tenor (as on "Body and Soul") and alto (e.g. "Richard’s Blues") to be heard too. Johnny Coles is a distinctive and imaginative musician and his playing, on tracks such as "The Birdland Story" and "Body and Soul", is one of the pleasures of this recording. How far the presence of vocalist Eddie Jefferson on some tracks is to be regarded as a bonus is probably a matter of subjective taste. I must say, I found him more enjoyable in small doses, as here, than I have generally done on albums issued under his own name, where he is heard more extensively. *Glyn Pursglove*

This fairly rare LP features James Moody's septet of 1956, a fine bop-based unit that also includes trumpeter Johnny Coles and pianist Jimmy Boyd. Moody, who had just begun to play flute, is heard on that instrument along with tenor and alto; an added plus are Eddie Jefferson's three vocals (including his alternate lyrics for "Parker's Mood"). The basic material (mostly standards and blues) are given spirited and swinging treatment by the underrated group. *Scott Yanow*

1 - Flute 'N The Blues

(Harold Newboldt, James Moody, Arthur Boyd)

2 - Birdland Story

(Eddie Jefferson, Moody)

3 - It Could Happen To You

(Jimmy Van Heusen, Johnny Burke)

4 - I Cover The Waterfront

(Edward Heyman, Johnny Green)

5 - Body And Soul

(Heyman, Green, Robert Sour, Frank Eyton)

6 - Breaking The Blues

(John Adriano Acea)

7 - Parker's Mood

(Charlie Parker)

8 - Easy Living

(Leo Robin, Ralph Rainger)

9 - Boo's Tune

(Florence Pleasant)

10 - Richard's Blues

(Moody, Newboldt)

James Moody (tenor sax, alto sax, flute), Johnny Coles (trumpet), William Shepherd (trombone), Pee Wee Moore (baritone sax), Jimmy Boyd (piano), John Lathan (bass), Clarence Johnston (drums), Eddie Jefferson (vocal [#2, #4, #7]).

Recorded in Chicago, Illinois, February 1956 [other source gives November 1956].