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2 x CD |
| 4.401 Ft
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| 1. CD tartalma: |
| 1. | Our Delight
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| 2. | Birk's Works
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| 3. | Con Alma
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| 4. | Lady Bird
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| 5. | Eternal Struggle
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| 6. | Body and Soul
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| 7. | Good Bait
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| 8. | Darben the Red Foxx
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| 9. | Soul Trane
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| 10. | Woody 'N You
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| 11. | Old Folks
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| 12. | Moody's Groove
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| 2. CD tartalma: |
| 1. | Subtle Rubbuttal
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| 2. | Bags
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| 3. | I've Found a New Baby
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| 4. | Django
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| 5. | You and the Night and the Music
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| 6. | I'm Beginning to See the Light
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| 7. | The MVP
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| 8. | A Child Is Born
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| 9. | 52nd Street Theme
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| 10. | The Summary
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| 11. | The Farewell
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Jazz
James Moody - Ssoprano, alto & tenor saxophones, Flute
Adam Nussbaum - Drums
Hank Jones Great Jazz Trio - Piano
Roger Kellaway - Piano
Sir Roland Hanna - Piano
Todd Coolman - Bass, Liner Notes
Nick Ruechel - Photography
The combination of James Moody and Hank Jones, excepting a few minor instances, has not been documented since the 1963 Argo LP Great Day. So this match-up of two jazz giants, with a collective experience of some 170 years at the time of this recording, is long overdue and exceedingly welcome. Concentrating on the music of Dizzy Gillespie and Tadd Dameron, these living legends of mainstream bop and hard bop turn this stack of standards and a handful of originals into a refined, relaxed and easygoing program of pleasing and accessible tunes. Every cut sports excellent solos, unforced refrains, and, as the title suggests, a delightful repertoire. Moody's tenor has never sounded better, while the ever elegant Jones supports the band with the ultimate in supple subtleties. Bassist Todd Coolman (who also wrote the insightful liner notes) turns in a usually reliable and steady performance, while the great but still unsung drummer Adam Nussbaum displays a restraint and high level of taste that shows both of their unwavering respect for the icons they are backing.
Of the inventive Dameron's contributions, the title track rolls along easily as cleanly played by these experts. "Lady Bird" is comfy, melodic, and groovy featuring Coolman's seemingly effortless and laudable solo, while the piquant theme of "Good Bait" and the whispered vibrato elements of Moody's tenor during the long ballad "Soul 'Trane" sets them apart from the original versions. The tunes from Gillespie's book-like "Birk's Works" and "Con Alma" are calm and unhurried, the latter with an expected calypso beat professionally injected by Nussbaum, and doing the same for "Woody 'n' You," popping and flailing bopping accents at will. Off the path of Dameron and Gillespie, Sonny Stitt's "Eternal Triangle" remains the perfect lean and fluid bop vehicle in the hands of masters, on flute Moody's "Darben the Red Foxx" extracts a spiky elfin blues theme, switching up phrasings to keep things interesting, and rising star vocalist Roberta Gambarini scats à la Ella Fitzgerald and soars like Sarah Vaughan on the Jimmy Heath evergreen "Moody's Groove." It's impossible to deem anything on this marvelous recording as less than truly classic, impeccably performed, simpatico above and beyond the call, and charmingly rendered. You'll have no issues adding this fine and historic recording to your modern straight-ahead jazz collection.
---Michael G. Nastos, All Music Guide
James Moody
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Mar 26, 1925 in Savannah, GA
Genre: Jazz
Styles: Bop, Hard Bop, Mainstream Jazz, Vocal Jazz
James Moody has been an institution in jazz since the late '40s, whether on tenor, flute, occasional alto, or yodelling his way through his "Moody's Mood for Love." After serving in the Air Force (1943-1946), he joined Dizzy Gillespie's bebop orchestra and began a lifelong friendship with the trumpeter. Moody toured Europe with Gillespie and then stayed overseas for several years, working with Miles Davis, Max Roach, and top European players. His 1949 recording of "I'm in the Mood for Love" in 1952 became a hit under the title of "Moody's Mood for Love" with classic vocalese lyrics written by Eddie Jefferson and a best-selling recording by King Pleasure. After returning to the U.S., Moody formed a septet that lasted for five years, recorded extensively for Prestige and Argo, took up the flute, and then from 1963-1968, was a member of Dizzy Gillespie's quintet. He worked in Las Vegas show bands during much of the 1970s before returning to jazz, playing occasionally with Gillespie, mostly working as a leader and recording with Lionel Hampton's Golden Men of Jazz. Moody, who has alternated between tenor (which he prefers) and alto throughout his career, has an original sound on both horns. He is also one of the best flutists in jazz. James Moody has recorded as a leader for Blue Note, Xanadu, Vogue, Prestige, EmArcy, Mercury, Argo, DJM, Milestone, Perception, MPS, Muse, Vanguard, and Novus.
---Scott Yanow, All Music Guide |
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