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

Matthew Gee - Jazz By Gee!

Matthew Gee (1925-1979), who belatedly had the opportunity to record this album, Jazz by Gee!, his first and only one as a leader, in 1956, was one of many talented jazzmen who earned the solid and lasting respect of his peers without ever achieving the public recognition they clearly deserved. Leonard Feather described Gee as one of the "best and most underrated of bop-influenced trombonists".

Gee was first influenced—not only in style but in his decision to play the trombone—by hearing Trummy Young, who was playing ahead-of-his-time trombone with the Jimmie Lunceford band. After attending Alabama State College, where he built a musical reputation, Gee arrived in New York. His first big band job was with Erskine Hawkins's band. After military service, he worked with Dizzy Gillespie in 1946, the Gene Ammons-Sonny Stitt group, Count Basie, and Illinois Jacquet, before freelancing in the New York area. From 1959 to 1963, he played intermittently with the Duke Ellington Orchestra. Later, in the 1960s, he played in small groups with Paul Quinichette and Brooks Kerr, and in big bands with Sonny Stitt and Johnny Griffin.

Gee's favorite trombonists were J.J. Johnson and Benny Green, and some of his admiration for them could be heard in his work. But there was even more in his driving, plunging style that was uniquely Gee; and it was high time that a lot more people appreciated just how much jazz that was.

The supporting cast here rated his "star" billing. In the septet numbers, tenor sax Frank Foster, trumpet Kenny Dorham, and baritone sax Cecil Payne stood out. The quintet featured Ernie Henry, one of those few altos with a defined sound and his own ideas, in addition to the inevitable debt to Charlie Parker. The rhythm section in both sessions was driven by Art Taylor. Joe Knight, a young pianist from Brooklyn, provided remarkably solid support throughout. Bass was shared by formidable veteran John Simmons and respected Chicago newcomer Wilbur Ware.

Matthew Gee's limited discography as a leader prompted us to add five bonus tracks from albums by other artists, featuring Matthew as a soloist and sideman. *Jordi Pujol*

Trombonist Matthew Gee was primarily a section player and a valuable sideman, but as this CD reissue shows, he could have been a significant soloist too. The two sessions (Gee's only two as a leader) feature him in an unusual quintet with altoist Ernie Henry (the trombone-alto blend has a unique sound) and at the head of a septet also including trumpeter Kenny Dorham, tenorman Frank Foster, and baritonist Cecil Payne. The music is quite bop-oriented and mixes together standards with three swinging Gee originals. An underrated and generally overlooked gem by a forgotten trombonist. *Scott Yanow*

Trombonist Matthew Gee was a sideman on a couple of dozen recording sessions but only one as a leader, Jazz by Gee, for Riverside, in July and August 1956. Between 1946 and 1975, Gee recorded with Gene Ammons, Erskine Hawkins, Sonny Stitt, Count Basie, Coleman Hawkins, Nat Pierce, Dizzy Gillespie, Johnny Griffin, Archie Shepp and many others. And yet, he made just one album under his own name. A terrible oversight by record labels at the time.

Today, Gee is barely known. As a sideman, his trombone was an ingredient in other artists' creations, so he never became a household name. What's interesting about his trombone is that he played with a zesty bark. A bebopper, Gee was able to push a rich sound through his horn and keep his improvisation bouncy and dance-like.

Now, Fresh Sound has released Jazz by Gee!  Matthew Gee All Stars that includes Gee's sole leadership album as well as sideman recordings leading up to that session. The bonus tracks are Gee with three different ensemble, led by Lou Donaldson, Illinois Jacquet and Joe Newman. Of particular note about Jazz by Gee! are Gee's sidemen on the two leadership sessions. They were indeed all-stars. *Marc Myers*

1 - Out Of Nowhere

(Green, Heyman)

2 - I'll Remember April

(Raye, dePaul, Johnston)

3 - Joram

(Bill Massey)

4 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

5 - Lover Man

(Davis, Ramirez, Sherman)

6 - Gee!

(Matthew Gee)

7 - Kingston Lounge

(Matthew Gee)

8 - The Boys From Brooklyn

(Matthew Gee)

9 - Moe's Bluff

(Elmo Hope)

10 - Caracas

(Lou Donaldson)

11 - The Stroller

(Lou Donaldson)

12 - On Your Toes

(Illinois Jacquet)

13 - Close Quarters

(F. Foster, J. Newman)

#1 to #8, from the album Jazz by Gee (Riverside RLP 12-221)

#1 to #5:

Matthew Gee (trombone), Ernie Henry (alto sax),

Joe Knight (piano), Wilbur Ware (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, August 22, 1956

#6 to #8:

Kenny Dorham (trumpet), Matthew Gee (trombone),

Frank Foster (tenor sax),Cecil Payne (baritone sax),

Joe Knight (piano), John Simmons (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, July 19, 1956

#9 to #11, from the album Lou Donaldson Sextet, vol.2 (Blue Note BLP-5055)

Kenny Dorham (trumpet), Matthew Gee (trombone), Lou Donaldson (alto sax),

Elmo Hope (piano), Percy Heath (bass), Art Blakey (drums).

Recorded at Van Gelder Studio, Hackensack, NJ, August 22, 1954

#12, from the album Illinois Jacquet Septet - Jazz by Jacquet (Clef MG C-167)

Russell Jacquet (trumpet), Matthew Gee (trombone),

Illinois Jacquet (tenor sax), Cecil Payne (baritone sax),

Raymond Acea (piano), Al Lucas (bass), Shadow Wilson (drums).

Recorded in New York City, December 11, 1953

#13, from the album Joe Newman and His Band (Vanguard VRS 8007)

Joe Newman (trumpet), Matthew Gee (trombone),

Frank Wess (tenor sax, flute), Frank Foster (tenor sax),

Johnny Acea (piano), Eddie Jones (bass), Osie Johnson (drums).

Recorded in New York City, March 9, 1954