LP-679

James Moody – Moody With Strings

Released 1961

Recording and Session Information

Ray Alonge, John Barrows, Jimmy Buffingto, flugelhorn; James Moody, tenor saxophone, alto saxophone, flute; Joe Soldo, Leon Cohen, Phil Bodner, woodwinds; Tommy Flanagan, piano; George Duvivier, bass; Charlie Persip, drums; Torrie Zito, arranger
New York, July 5 & 6 1960, February 16, 1961

10677 Another day
10678 Dorian mood
10679 Fools rush in

James Moody, tenor saxophone, alto saxophone, flute; Hank Jones piano; John Beal, bass; Osie Johnson, drums; Leon Cohen, woodwinds; + large string orchestra, Elaine Vito, harp; Torrie Zito, arranger

10680 Dorothee
10681 A song of love
10682 All my life
10683 I remember Clifford

Burt Collins, Marky Markowitz, Don Stratton, trumpet; Tom McIntosh, Fred Zito, trombone; Ray Alonge, Richard Berg, flugelhorn; Don Butterfield, tuba; James Moody, tenor saxophone, alto saxophone, flute; Torrie Zito, pinao, arranger; George Duvivier, bass; Tom Gillen, drums

10684 Love walked in
10685 Love for sale
10686 Somerset
10687 I'm old fashioned

Track Listing

Dorothee	Torrie Zito	July 5, 6 1960 / Feb 16 1961
Love For Sale	Cole Porter	July 5, 6 1960 / Feb 16 1961
Another Day	Torrie Zito	July 5, 6 1960 / Feb 16 1961
All My Life	Davis, Akst	July 5, 6 1960 / Feb 16 1961
I'm Old Fashioned	Kern, Mercer	July 5, 6 1960 / Feb 16 1961
Fools Rush In	Bloom, Mercer, Bregman	July 5, 6 1960 / Feb 16 1961
Somerset	Torrie Zito	July 5, 6 1960 / Feb 16 1961
I Remember Clifford	Benny Golson	July 5, 6 1960 / Feb 16 1961
Love Walked In	George and Ira Gershwin	July 5, 6 1960 / Feb 16 1961
A Song Of Love	Torrie Zito	July 5, 6 1960 / Feb 16 1961
Dorian Mood	Torrie Zito	July 5, 6 1960 / Feb 16 1961

Liner Notes

In the late and early 1940s, the music of Glenn Miller marked the end of an era; but simultaneously another era was underway. Modern jazz began to take form and was moving in many directions, Young musicians, restless and searching, were determined to extend the expressive range of this music.

Jazz musicians found a different of inspiration in the ideas of Stravinsky and Bach and blended these with the traditional jazz forms to produce a combination of musical elements which the world has never before heard, a combination which made possible a more extensive projection of the musicians own personal feelings. James Moody was one of those musicians.

The story of James Moody is a simple one, but it's the story of jazz — jazz here in America and around the world. Moody's life grew with jazz from an early age in Savannah, Ga., where he was born 36 years ago. His stay with Uncle Sam was from 1943.'46. Upon leaving the armed services, his services were employed by Dizzy Gillespie, with whose big band he played until 1948. He then went to Europe where he had series of record sessions in Stockholm and Paris. His record of I'm In The Mood For Love proved him to be one of our present day jazz giants.

Moody's flute work would be considered a recent venture, but a rapidly developing one. Moody's contributions to jazz has made it fertile music, exciting, alive, and stimulating to the mind as to the heart.

In this album you will find three moods of Moody — the happy mood, the mood to be wooed, and the sad mood. This comes aboue as the result of the meeting of jazz two most important elements; the message carrier and the writer of the message. In this case James Moody meets Torric Zito. Zito, a young New Yorker, supplies Moody with three different combinations (brass and rhythm, strings and rhythm, and woodwinds-horns and rhythm) to prove his talents as writer, arranger, and conductor. Of the eleven selections in this album' five are Zito's originals, the rest are standards arranged by Torrie to set up the three moods Moody displays here.

The album opens on soft and romantic note as Moody is heard on alto on Dorothee. Love, For Sale follows, and it's the real swinger of the lot as Moody moves deftly and chargingly on tenor through its changes. The brief but effective piano solo is by Zito.

Another Day is an amazing alto saxophone performance by James, played with beautiful tone and sensitive command. It is among his very finest recordings.

All My Life, which I have not heard done by a jazz artist for years, has more Of Zito's remarkable writing for strings and good tenor from Moody. I'm Old-Fashioned, with brass backing, and Fools Rush In, spotting thc wood- winds, complete the first side.

Side 2 opens with Somerset, a jazz waltz that swings compulsively, contains a chorus a Tom McIntosh's trombone, and finds Moody on alto again.

The salute to the late Clifford Brown is heartfelt on I Remember Clifford. Zito's writing is exactly right and Moody's tenor nothing short of beautiful.

Love Walked In is taken at slow trot as Moody turns to flute, then stays with that instrument on Zito's Song Of Love. Dorian Mood ends the album on an exhilarating note.

This is James Moody at his xery finest, and heard in a setting that supports him wonderfully well — the orchestra and arranging of Torrie Zito.

Al Clarke