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2 x CD |
| 5.061 Ft
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| 1. CD tartalma: |
| 1. | Take the A Train
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| 2. | Hot House
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| 3. | Speak Low
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| 4. | Polka Dots & Moonbeams
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| 5. | I Love You
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| 6. | O.P. Update
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| 7. | Nikara's Song
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| 8. | Along Came Betty
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| 9. | But Not For Me
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| 2. CD tartalma: |
| 1. | Subtle Rebutal [*]
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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 / Bop, Hard Bop, Mainstream Jazz
James Moody Sax (Tenor)
Kenny Barron Piano
Lewis Nash Drums
Todd Coolman Bass
Recent winner of the Jazz Journalists Association's Lifetime Achievement Award!
According to Moody's long-time bassist, Todd Coolman, this is the best recorded work in Moody's career.
Moody and Kenny Barron go back 50 years, to Dizzy Gillespie's legendary quintet, and are amazing together.
Recorded a day after the initial session that became the album 4A, James Moody convened the same band to document 4B, a collection of standards and two originals by pianist Kenny Barron and bassist Todd Coolman, respectively, with drummer Lewis Nash also in for the ride. Moody plays tenor sax exclusively in a mellow, swinging temperament that suggests he's done with bop from a speed point of view, but not melodically or harmonically. Even-keeled and cool, the band effortlessly wends its way through these familiar songs with supreme confidence and a sharp wit. Moody is supremely polished and graceful, with no wasted effort or notes on classic ballad fare, and an easygoing version of Tadd Dameron's "Hot House." There's a bit of samba or light tango, the Asian modal piece of Barron's "Nikara's Song," and the unison play between the piano, bass, and tenor sax during Coolman's "O.P.'s Delight" that mix things up. Moody commands great respect from his sidemen, and they are just too good and literate to be denied high accolades. Perhaps a safe concession to mainstream jazz, it's also very enjoyable for across-the-board audiences to recognize that James Moody has still got it, approaching his ninetieth birthday. ~ Michael G. Nastos, Rovi
"The music exudes class and dignity. Moody plays with great melodic sense, telling a story with each of his solos and never overplaying."
"Hearing James Moody playing so well is an experience akin to having Abraham Lincoln still around to re-deliver the Gettysburg Address with undiminished oratory power ... listen to this CD. You'll be the better for it."
-- Gapplegate Music Review
"Wonderful."
-- New York Times
"It can get no better, unless we have a second coming of our mates in Bop heaven. There are not enough stars in the heavens to rate this album."
-- California Coast Jazz
"Some of the most enticing jazz of the year, written by one of the music's most engaging composers."
-- Times Herald Record
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, Jazz Instrument, Saxophone 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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