LP-756

James Moody - Cookin' The Blues

Released 1965

Recording and Session Information

Howard McGhee, trumpet; Bernard McKinney, trombone; James Moody, alto saxophone, tenor saxophone, flute; Musa Kaleem, baritone saxophone; Sonny Donaldson, piano; Steve Davis, bass; Arnold Enlow, drums; Eddie Jefferson, vocals
Jazz Workshop, San Francisco, June 1961

10955 Bloozey (unissued)
10956 Little Buck
10957 Home fries
10958 Disappointed
10959 It might as well be spring
10960 One for Nat
10961 Bunny Boo
10962 The Jazz Twist
10963 Sister Sadie
Moody Flooty

Track Listing

The Jazz Twist	James Moody	June 1961
One For Nat	Gene Kee	June 1961
Bunny Boo	James Moody	June 1961
Moody Flooty	James Moody	June 1961
It Might As Well Be Spring	Rodgers & Hammerstein	June 1961
Disappointed	E. Jefferson	June 1961
Sister Sadie	Horace Silver	June 1961
Little Buck	James Moody	June 1961
Home Fries	Gene Kee	June 1961

Liner Notes

BACK in 1946, James Moody made his first recording date. He was the featured tenor saxophonist with Dizzy Gillespie's big band on a number called Emanon. Moody was cookin' the blues — to a turn.

Almost twenty years later, Moody is back with Diz, and cookin' better than ever. In between. however, he was a band leader in his own right, as anyone who is aware of Argo Records well knows. Moody's bands have always been big little bands or little big bands, depending on how you look at it. They combined musicality and swing, and certainly knew how to play the blues. This 1961 edition, recorded live at The Jazz Workshop in San Francisco, is no exception. Here the band is heard in a supporting role, save a short solo by pianist Sonny Donaldson on The Jazz Twist. The stage is Moody's for the most part, except on the two selections in which his long-time buddy, singer Eddie Jefferson, steps into the spotlight.

When Moody went to Europe in the late Forties as a member of the Gillespie band, he decided to stay on the Continent. In France and Sweden, he became a recording star on both tenor and alto, his original instrument. When he returned to the United States in 1951, Jimmy continued to utilize both horns. Later in the Fifties, he added flute to his already heavy arsenal. In this album, he uses all three weapons to cook the blues.

Moody is very "vocal" on all his instruments but perhaps no place as much as on alto. His Jazz Twist solo, at a groovy medium tempo, gets into some screaming before it's finished. On the minor-key Home Fries, he does some hard wailing and crying. Even on It Might As Well Be Spring he imparts a bluesy inflection replete with a rowdy rooster crow.

His flute has a pleasing, beautifully-controlled, but never effete sound that is as azure as his other axes. Moody is flutin' the blues on only one track in this set and that's Moody Flooty. Once again he shows how to get a jazz feeling on flute without becoming hysterical.

Moody's tenor is never harsh but has an edge that bites and a center with plenty of guts and he fingers it with the same incredible facility that he brings to the smaller alto. James is a tough man at any tempo. As fellow saxophonist Allen Eager said to me, one night at Birdland, when we were enjoying James' playing, "He can do anything he wants to on his horn."

One For Nat has Moody in full flame and a short drum break by Buddy Enlow. Bunny Boo is in a rocking, finger-popping groove with the mood for Moody set by the walking Steve Davis and Enlow. Moody's Little Buck is a terse, swift, riffy blues with a Lester Young-ish beginning and a few hints of Pres in other places.

In abetting vocalist Eddie Jefferson's portrait of Horace Silver's Sister Sadie, Moody blows a particularly hot tenor chorus. This one swings all the way with Jefferson's words even taking in Blue Mitchell's trumpet solo from Silver's original version.

Jefferson was the first singer to write words to instrumental solos and perform them. "I started doing it back around 1938 or 1939," he told me. "I used to have a record player in my hotel room and just sing along with the records for my own amusement and for the cats who always hung around." Eddie's other solo in this set is Disappointed, based on Charlie Parker's Lady Be Good solo from Jazz At The Philharmonic. The first time Jefferson recorded this, he sang: "I got in trouble foolin' around with a pretty woman." This time he tells us: "I got in trouble feelin' around with a pretty woman." That's some fancy foolin'! Eddie's sense of humor is all over this one in a demonstration of how to make a sad story amusing. It's the only track in the album where Moody doesn't solo, but Jefferson takes good care of all the business. Elsewhere, it's all Moody, and he cooks the blues with the authority and élan of a musical Escoffier.

—IRA GITLER

LP-740

James Moody - Comin' On Strong

Released 1964

Recording and Session Information

James Moody, tenor saxophone, alto saxophone, flute; Kenny Barron, piano, organ; George Eskridge, guitar; Chris White, bass; Rudy Collins, drums
Ter Mar, Chicago, September 16 1963

12704 I've grown accustomed to her face
12705 Zanzibar
12706 Sonnymoon for two
12707 Dizzy
12708 Ole [For the gypsies]
12709 Please send me someone to love
12710 Autumn leaves
12711 Fly me to the moon (In other words)

Track Listing

In Other Words (Fly Me To The Moon)	Bart Howard	September 16 1963
Dizzy	James Moody	September 16 1963
Autumn Leaves	D. Kozma, J. Mercer, A. Prevert	September 16 1963
Ole	Dizzy Gillespie	September 16 1963
Sonnymoon For Two	Sonny Rollins	September 16 1963
I've Grown Accustomed To Your Face	Alan Jay Lerner/Frederick Loewe	September 16 1963
Zanzibar	Esmond Edwards	September 16 1963
Please Send Me Someone To Love	Percy Mayfield	September 16 1963

Liner Notes

IN MANY WAYS, the title of this album is unnecessary. Comin' On Strong is the way James Moody does things musically. Moody has contributed too much to jazz and to the general dignity of the jazz business to have it any other way.

Moody the musician is a product of bop era. The wages of those years were destructive to many of its participants, yet Moody remains. The quality of the music produced by many members of the then avant-garde movement has been variable, yet Moody's is consistently excellent. Many men have shifted their musical conceptions to take advantage of this fad or that craze. yet Moody, (if necessary), will take music and fit it to his conception. Musicians have taken up new instruments to give them added versatility and their musical personality changes to suit the demands of the instrument; yet Moody plays alto, tenor and flute in a style that is distinctly his own.

Moody has a history of producing unique musical performances. Moody's Mood For Love is a classic ballad performance, but slow pieces are a small part of his repertory. A list of his outstanding works Will number pieces as diverse as NJR. Hey Jim , Disappointed, The Strut, Last Train From Overbrook, Darben the Redd Foxx, With Malice Towards None and Workshop. HoW many men can claim such a huge collection (still only partially accounted for here) of musical successes?

Moody has also given a good deal of inspiration to young musicians. During the period when he led a septet he featured men such as Babs Gonzales, Johnny Coles, Eddie Jefferson, Gene Kee and Clarence Johnston. Moody also used the compositions of talented musicians like Quincy Jones, Benny Golson and Tom McIntosh while these men were largely unknown to the general public.

Moody the man has suffered some untimely misfortunes during his 20 years as contributing jazzman. The year 1938 is one he would like to forget. Too many bottles of cheap wine threatened his career but Moody committed himself to Overbrook Hospital in New Jersey and came back.

In the summer Of 1961, Moody took his group to The Five Spot in New York after an appearance at the Newport Jazz Festival and things were good until the club was closed by the police and the band was out of work. Moody, however, went to Chicago where he shared the bandstand for a couple of weeks with three other saxophonists; Gene Ammons, Dexter Gordon and Sonny Stitt. The performances of these men during their stay at McKies DJ Lounge shook the very foundations of the Chicago Jazz world and people still talk about it three years later. Lesser men could not have made it yet Moody did.

For the last two years, Moody has been an associate of John Birks Gillespie. Now Moody concentrates more on alto and flute; although tenor was the horn he played when he was a member of Mr. Gillespie's first big band in the middle 1940's. The fine interaction between Moody and Diz has been evident from the very beginning of their latest relationship. Moody is the ideal compatriot for Dizzy because his shy manner meshes with the leader's extrovert personality. The result is nightly demonstration of musical and social common sense.

In this album, Moody is assisted by the Gillespie rhythm s«tion of Kenny Barron, Chris White and Rudy Collins and Chicagoan George Eskridge on guitar. As with each Moody release. the listener gains a little more insight into the musical personality of the man. In this case, it is two Latin pieces, Ole and Zanzibar, that reveal another facet of his versatility. Zanzibar was written by Esmond Edwards, the man responsible for the making of this album and I think the listener will agree that With works like Zanzibar coupled with Bonita and Desert Winds (recorded by Illinois Jacquet), jazz may have found its answer to Prez Prado.

Moody has also contributed an original to the date. It is a line entitled Dizzy and during the course of its performance, one can enjoy an affectionate portrait of our number one trumpeter and presidential candidate.

Moody has always brought to his ballad performances a unique interpretative powers and in this collection, Fly Me To The Moon and I've Grown Accustomed To Your Face are fine examples.

COMIN' ON STRONG?: OF COURSE. Anything else would be an insult to the man.

Bob Porter
Editoe, "The Digger"

LP-725

James Moody - Great Day

Released 1963

Recording and Session Information

James Moody, tenor saxophone, ,alto saxophone, flute; Tom McIntosh, arranger; including: Thad Jones, Johnny Coles, trumpet; Hubert Laws, flute; Hank Jones or Bernie Leighton, piano; Jim Hall, guitar; Richard Davis, bass; Mel Lewis, drums
A & R Recording Studios, New York, June 17/18 1963

12522 Malice towards none
12523 The search
12524 Blues impromptu
12525 Opalesque
12526 Let's try
12527 Great day
12528 One never knows

Track Listing

Great Day	Tom McIntosh	June 17/18 1963
The Search	Tom McIntosh	June 17/18 1963
Let's Try	Tom McIntosh	June 17/18 1963
One Never Knows	John Lewis	June 17/18 1963
Opales'que	Dennis Sandoli	June 17/18 1963
Blues Impromptu	James Moody	June 17/18 1963
Malice Toward None	Tom McIntosh	June 17/18 1963

Liner Notes

JAMES MOODY is a name I first heard sixteen years ago. I heard him play in that same year in Philadelphia while he was with Dizzy Gillespie's first big band. I was immediately impressed and I still am! But rightly so because in the interim years he has been very restless and I've always contended that this restlessness is one of the basic ingredients for attaining progress.

During our infrequent meetings he would always express aspiration — he was always trying to perfect this or that. And this is as it should be because if an artist is perfectly satisfied with what he is doing, there is little room for improvement.

What has happened to Moody is what happens to most creative people who continue to grow. It's like boarding an elevator that never stops ascending. The higher one goes or the more progress he makes — the more area he can see or the more he is aware of the vast possibilities of his art. It's a chain reaction from within — discovering and exploring a possibility only reveals another so that one's purpose is always perpetual.

Years ago when I heard Charlie Parker say, "I'm working on some new things". I was rather surprised because I'd never thought of the "Giants" as having to improve or extend themselves further. But I soon discovered that this is true of all creators of art. What I'm leading up to is this — early in his career Moody was mainly self-taught, and can, truthfully say he has a tremendous amount of innate talent, but as the years went by he became more and more aware of his shortcomings. He also became aware of what had to be done to correct them. Eventually he began to study, concentrating on many areas of formal music. Many people say that since that time he's lost his soul, some say he's lost some or all of his natural abilities and I say — they're all wrong. I consider such statements as being postulatory and can only assume that these people are merely superficial and nearsighted and/or arrogant and incipient because all one has to do is LISTEN—REALLY LISTEN! Does a man become an outcast because he wants to improve himself? I'm sure that the listeners of this album will agree that his soul and abilities are extant and better than ever.

This album marks a high point in Moody's career. He, without a doubt, proves himself musically affuent.

This album, too, represents a wonderful marriage of the performance of Moody and the writing of Tom McIntosh.

Mac, as he is called, is a soft-spoken, sincere young man. He is a graduate of the Julliard School of Music but seldom mentions it. In the few years I've known him I've discovered various things that he is striving for in his music. The foremost and most obvious is his predilection for strong melodic lines that actually outline a vertical harmonic structure, theme and development. harmonic color through a selection and blending of instruments according to their individual and over-all tinibre and getting away from the now commonplace 32-bar construction with its uninspiring and predictable sequence of chords.

His compositions are always a little unusual and offer the performer a challenge, however; this is always well worth the effort because of the pleasure it affords the performer as well as the listener. The beautiful things he writes don't just happen. They are well planned, constructed and then literally torn apart again and again so that when it is considered a finished product it is as good as he can possibly make it. He has said upon occasion "I Think I write rather slowly", but many have assured him that the end result is the true barometer.



About the Music:
Tom McIntosh's "Great Day" the title tune of the album, exhibits a joyous feeling throughout with Moody's personal interjection of himself, and Tom's wonderful feeling for gospel music and jazz and his feeling for orchestral development. Johnny Coles, an extremely sensitive trumpet player, helps to make it even more savory with his lyrical, warn sound and pianist Hank Jones seems to be mellowing more and more — if that's at all possible. At the close of this track I'm sure one would feel the urge to say, "Yes! It's A Great Day".

When I first heard "The Search", I told Mac that the opening chord sounded like giant Boeing 707 taking off. It has an extremely big and majestic sound. The opening of the first chorus is written in 5/4 time which makes an interesting contrast for what is to follow. Seldom do you find a tenor player who plays alto with a true alto sound. Mac utilizes Moody's sound very well by giving him the melody and putting occasional harmonizing lines under him. Thad Jones enters with his unmistakable style and sound which leads into a short but inspiring piano solo by his brother, Hank. I might add that bassist Richard Davis maintains that jazz-solo feeling throughout with his clever rhythmic interjections.

On "Let's Try" Moody plays a relaxed melody and upon repeating it, he is joined by flutist Hubert Laws and the combined timbre makes it sparkle like a gem. When Moody goes into his solo it's as if a tiger has been unchained— dashing, dancing, dodging, darting, but all with a purpose and a direction. Again, Johnny Coles exemplifies his ability to bring something meaningful into an arrangement through his solos.

"One Never Knows" is a beautiful ballad by John Lewis which affords Moody a chance to reveal the warmer side of himself on flute. Guitarist Jim Hall plays an important part on this track. Mac uses him, as well as other instruments, to play little musical gems and add splashes of color. Moody asks his flute to sing — and it does — remarkably well.

"Opalesqve" is an original written by Dennis Sandoli. Dennis is a true genius, not only in music but in art and poetry as well. He wrote film scores in Hollywood while still only a young teenager. The feeling on this track is not meant to be one of extended form or development, but rather a workshop feeling wherein the soloists can feel completely free without the periphery of orchestration. Bernie Leighton, piano, Mel Lewis, drums and Richard Davis, bass, make up the rhythm section which help Moody attain this freedom. as do Johnny Coles and Jim Hall.

"Blues Impromptu" was conceived in the mind of Moody. He told Mac the day Sefore the recording session, "I'll do a blues but I don't know what I'm going to play yet, so just write an out chorus to be on the safe side". This idea worked out with excellent results because Moody and Jim build their solos directly into the written, out chorus which makes for a wonderful and effective climax. Richard Davis creates most interesting and unusual bass line.

The introduction to "Malice Toward None" is opened by Richard Davis bowing, very beautifully, the melody which is transferred to Jim Hall and by use of a deceptive cadence modulates from that key to a new one as Moody enters on tenor. There is a kind gentleness about this composition and Moody's interpretation of the melody seems to evince pathos especially when the flute joins him. His solo is soulful and sometimes interspersed with double-time figures. This is a well thought out arrangement which allows Moody plenty of room to develop his ideas.

This album could very well be Moody's "epoch" because it definitely represents new development and indicates that he's taking giant steps forward. He's rather short in stature physically but musically he is a giant. After all, a giant is what a man IS — Moody is a GIANT! GREAT DAY!

Benny Golson

LP-695

James Moody - Another Bag

Released 1962

Recording and Session Information

Paul Serrano, trumpet; John Avant, trombone; James Moody, tenor saxophone, flute; Kenny Barron, piano; Ernest "Ernie" Outlaw, bass; Marshall Thompson, drums
Ter Mar, Chicago, January 30 1962

11438 Minuet in G
11439 The day after
11440 Cup bearers
14441 Sassy lady
14443 Ally (parts 1,2,3)
14444 Pleyel D'jaime
14445 Spastic

Track Listing

Sassy Lady	Tom McIntosh	January 30 1962
Ally (Parts 1, 2, 3)	Tom McIntosh	January 30 1962
Spastic	Ken Duhon	January 30 1962
Minuet In G	Tom McIntosh	January 30 1962
Cup Bearers	Tom McIntosh	January 30 1962
The Day After	Tom McIntosh	January 30 1962
Pleyel D'Jaime	Dennis Sandola	January 30 1962

Liner Notes

JAZZ IS AMERICAN...as American as fire crackers on the fourth of July or presents at Christmas. Jazz is our own unique music that grew, grew and grew until the whole world sat up and listened. It is the music best suited to express sad and happy moods. Jazz expresses all aspects of life. Never before has so much of life been put into sound as has been put into the patterns of jazz.

The story of James Moody parallels the story of jazz here in America and around the globe. James Moody has carried jazz almost around the world, spreading its message to kings and queens, and to the common people...whoever would listen. The growing acceptance of jazz has more than ever created good will, established friendly ties and broken down racial barriers. Yes the mutual bond of jazz appreciation has helped to dissolve differences between men of every race and color enabling these men to work together with a common cause.

James Moody, age 37, born in Savannah, Georgia, tenor, alto and flute, he is an arranger, composer and leader. Moody's musical career has gone thru many changes...changes not only musically, but physically. I think his "LAST TRAIN FROM OVERBROOK" has given not only him confidence, but the poor seeing eye public, the chance to respect and understand a musician of very high musical ability.

Like all the arts, jazz has its faddists. Let's forget them; they are a fringe minority. It is the major aspects of this art-form which concern us.

In this album you will hear a cross section of the past ten years of James Moody's works...From the early 50's, in Europe, to one of his best selling LPs to date, "Moody With String" (ARGO LP 679).

The beautiful originals here receive exquisite performance at the hands of arranger, Tom McIntosh; five young brilliant musicians and the leader James Moody.

"1n Another Bag," opens with "SASSY LADY," which is very reminiscence of SOFT WINDS, this is Moody on tenor making use of this new material which he treats with love and tender care. "ALLY," follows, as Moody on flute treats the intro gently, and then it swings with Moody taking over on alto. The trumpeter is Paul Serrano; Ken Barron at piano while Moody returns to flute and a beautiful ending.

"Spastic," is an amazing tenor saxophone performance by James.

"Minuet In G," is the most sensitive with a waltz beat, with James on flute, "Cup Bearers," is the happy sound with everyone getting a chance to say something nice. "The Day After," the flute employed again seems to tell a sad story, but one which is told With great interest.

PLEYEL D'JAIME...Sounds to me a bit like one expressing a tear of love in a happy sort pf way...thus Moody on alto wraps up ANOTHER BAG Of beautiful sounds, and if I may repeat myself, this is James Moody at his finest, and heard in a setting that supports him wonderfully well...the band and the arrangements of Tom McIntosh.

AL CLARKE
HOUSE OF JAZZ
WJMO
CLEVELAND, OHIO

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

LP-666

Hey! It's James Moody

Released 1960

Recording and Session Information

James Moody, tenor saxophone, flute; John Gray, guitar; Eldee Young, bass; Clarence Johnston. drums; Eddie Jefferson, vocals
Chicago, December 29, 1959

9930 Troubles in de lowlands
9931 Tali
9932 Please say yes
9933 Stella by starlight
9934 Indian summer
9935 Blue jubilee
9936 Woody'n you
9937 Don't blame me
9938 Last train from Overbrook
9939 Summertime

Track Listing

Stella By Starlight	Washington, Young	December 29 1959
Indian Summer	Herbert	December 29 1959
Don't Blame Me	McHugh, Fields	December 29 1959
Last Train From Overbrook	James Moody	December 29 1959
Please Say Yes	McIntosh	December 29 1959
Blue Jubilee	McIntosh	December 29 1959
Woody'n You	Dizzy Gillespie	December 29 1959
Trouble In De Lowlands	James Moody	December 29 1959
Summertime	DuBore, Gershwin	December 29 1959
Tali	McIntosh	December 29 1959

Liner Notes

THE jazz scene today is a treadmill that moves slowly but inexorably to the right. Yesterday's innovator, who entered the stage at far left, may be a reactionary by tomorrow's standards. In these terms it might be said that James Moody currently is situated smack dab in the middle of the stage.

Moody's perspectives, his approach to playing a horn, may not have altered substantially; it is the angle from which he is inspected that has induced this optical illusion. To Louis Armstrong and his contemporaries, Moody probably is a modernist, "one of them damn beboppers" still under fire from Satchmo and a few other diehard veterans for allegedly destroying jazz by having extended its boundaries beyond the minor seventh. But to Ornette Coleman or Charlie Mingus, Moody may seem old-fashioned, even conservative, since the style he represents basically is rooted in a movement that reached its peak more than a decade ago.

All this attitudinizing is, of course, irrelevant. The only point that remains valid is: does Moody play with soul, with his own feelings, and with the technical ability to transmit them to the listener? The answer, afflrmative of course, may be found in any of his albums and most particularly, I think, in the present LP with its informal approach and uncluttered context.

The pattern of Moody's career has been a simple one, composed of three main phases. As the army took him in 1943, when he was 18, and kept him through '46, he got off to a relatively late professional start. The first major phase was his membership in the Dizzy Gillespie band of 1947; the second was a three-year in Europe freelancing mainly in Stockholm and Paris. The third stage, which has lasted up the present, has found Moody touring the U.S. as leader of his own band. Originally known exclusively as a tenor saxophonist, he began doubling on alto during the second phase and recently, as his Argo LPs eloquently attest, has been concentrating more and more on the flute.

On these sides Moody plays tenor and flute, with the backing of a rhythm section which, except for the two tracks featuring Eddie Jefferson's vocals, is pianoless. This, howver, is not the kind of piano-bereft instrumentation that leaves a conspicuous gap in the accompaniment: the presence of a guitar assures both Moody and his listeners of an unobstrusive but guide through the harmonic contours of each track.

The guitarist in question. though not yet a generally familiar jazz name, is greatly respected among fellow-musicians who have heard him in Chicago. Johnny Gray's regular gig is the Don McNeil Breakfast Club show. Aside from his studio chores he occasionally has an opportunity for a record date; he was heard previously with Moody on Last Train From Overbrook (LP 637). Gray's work is reinforced by the sturdy presence of Eldee Young, the 24-year-old Chicago-born bassist who, after a long apprenticeship in the rhythm and blues field working for Chuck Willis, T-Bone Walker, et al, found a suitable niche in the Ramsey Lewis trio, with which he has been heard in clubs and on Argo LPs.

That Moody's mood is a modern one and his sound more compelling than ever can be deduced from the first two notes on the opening number. Stella By Starlight is a tenor sax excursion in which his approach is certainly less florid than on some of his band performances, and oeems to swing more loosely all the way. By placing this as the opening track on side Moody has made himself pretty hard to follow, but there is none of the expected letwdown. Indian Summer is a flute solo in completely contrasted pace and style, the first 16 bars played with rubato guitar before the accompaaiment eases into a moderate tempo.

Don't 8Jame Me, a tenor solo, is a striking illustration of Moody's talent for setting mood and holding it consistently through a performance. Notice how, at bar 10 of his first chorus, he uses a gap in the melody (actually a long note) to insert a swift and imaginative sequence of improvised notes but still returns to earth in time to resume the pursuit of what is basically a melodic solo.

Even the double-time passages in the second chorus are occasional and discreet. This is one of Moody's most compelling and best-constructed tenor solos, It wouldn't surprise me to hear it set to lyrics by Eddie Jefferson on some future album. And that, of course, is exactly what has happened with the next track. Last Train From Overbrook.

The original version of this fascinating blues theme was an instrumental, used as the title number of an LP Moody taped on his release from the Overbrook institution in New Jersey. The story was too well told in the notes by Dave Usher and Frank London Brown on LP 657 to need repetition here; besides, in setting lyrics to this theme Jefferson has recreated the story in a poignant first-person story of Moody's own experiences and emotions. In addition to Eddie's vocal, this new version differs the others in several ways, notably in that Moody plays flute instead of tenor.

Not too many of his listeners realize that Jefferson, who since 1953 has doubled as manager and singer with Moody, was the first man ever to set lyrics to jazz instrumentals, years before King Pleasure and almost two decades before Lambert, Hendricks, and Ross. Now 41, Jefferson is a Pittsburgher wih a long background in show business as a dancer and singer. It was he whose lyrics to Moody's celebrated I'm In The Mood for Love solo, which he sang on Argo LP 613.

The pleasant theme of Please Say Yes was written by Tom McIntosh, who plays trombone in Moody's regular band. Moody again reverts to tenor and there are a few moments that are, surprisingly, reminiscent of Getz, who's about the last soloist I'd have expected to compare with Moody.

Blüe Jubilee is a flute blues with very strong support, as well as individual solos, from Gray and Young. Listening to Moody here I reflected that the flute, after only six years of common jazz use, has begun to find its own jazz sound. Just as you wouldn't want a jazz trumpeter to sound like Rafael Mendez, or a saxophonist like Freddy Martin, men like Moody are establishing for the flute in jazz a peculiar tonal personaäty- It's getting so you can tell a flutist from a flautist.

Woody'n You, the Dizzy Gillespie tune of the early '40s, is played as an up-tempo, tenor solo; Trouble In De Lowlands (with Eddie Jefferson adding local color at the end as we seem to hear a baby crying) is a folksy and very basic minor 12-bar blues played on flute all the way.

Summertime, bringing Eddie Jefferson front and center again, offers some seasonal reflections that evidently never occurred to DuBose Heyward: I was especially touched by Eddie's observation that fish are jumping out of the lake, flop flop flop/trying to give the fishermen a break. This tongue-in-cheek treatment of the Gershwin song is by no means without precedent. I remember hearing a girl named Jerry Kruger Going something even more irreverent with it back in the 1930s.

Tali, a title I haven't been able to figure out except that it's an anagram of tail, is the most interesting track of the album, compositionally at least. McIntosh has conceived some pretty changes in this minor theme. Gray's guitar complements Moody's flute, punctuates, counterpoints, and briefly plays in two-part harmony with him. It's a delightful and most unusual performance, reflecting on McIntosh, Moody, and Gray.

No matter where he stands on that eternal treadmill of jazz, I believe James Moody knows just where he is, and who he is, and what to do about it. Keep watching him closely; he may not be as far across the stage as you think.

LEONARD FEATHER

LP-648

James Moody

Released 1959

Recording and Session Information

James Moody - James Moody and His Orchestra
Johnny Coles, trumpet; Tom McIntosh, trombone; James Moody, alto, tenor sax, flute; Musa Kaleem, baritone saxophone; Gene Kee, piano; John Latham, bass; Clarence Johnston, drums

9668 Out Of Nowhere
9669 Darben the Redd Fox
9670 Little Girl Blue
9671 Daahoud
9672 With Malice Towards None
9673 Cookie
9674 R.B.Q.
9675 Yesterdays

Track Listing

Darben The Redd Foxx	James Moody	August 1959
Little Girl Blue	Rodgers & Hart	August 1959
Out Of Nowhere	Heyman, Green	August 1959
Daahoud	Clifford Brown	August 1959
Yesterdays	Kern, Harbach	August 1959
Cookie	Gene Kee	August 1959
With Malice Toward None	Frank McIntosh	August 1959
R.B.Q.	Gene Kee	August 1959

Liner Notes

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.

It took iust a few hours to record the sides in this album. The band had just finished a weeklong engagement at the Regal theater in Chicago and was, as a result, rested and in good playing shape.

I think it is the most successful album in Moody's career. His tone retains all the soft prettiness that made him easily recognizable, but his attack and phrasing are now marked by a surety and confidence that was seldom noticeable to this degree. Moody's intonation is true, and his ideas are expressed logically and calmly. He is, in short, a jazzman who should be listened to.

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 reached into the Case and pulled out a pint bottle of cheap wine. It was sealed tight, and on the label he had scratched, "Washington, 1958."

"I always carry it with me," he said. "Just to remind me."

About The Music

Darben The Redd Foxx is done in honor of Redd Foxx, a very funny comic and storyteller. It's a blues march type of thing, with Moody's flute leading the way.

A pensive and sensitively-done Little Girl Blue follows, with Moody again playing flute.

Out Of Nowhere, arranged by Moody's trombonist, Tom McIntosh, stretches out to give solo voices to the other bandsmen. Trumpeter Johnny Coles enters first, followed by pianist Gene Kee, McIntosh, then Moody on tenor.

Daahoud, written by the late Clifford Brown, features, in order, McIntosh, the booting baritone sax of Musa (Moose) Kalliem. Coles, then Moody on alto.

Moody's flute is back again to kick off the second side with a moving solo on Yesterdays

Cookie, composed by pianist Kee, spots Coles, Moody on tenor, and Kalliem.

With Malice Toward None, composed and arranged by McIntosh, is a lovely melody and is treated with great care and tenderness by Moody playing flute.

R,B.Q., a walking blues that is started off by bassist John Lathen, winds up the album on a down home note, With eweryone getting a solo shot.

Jack Tracy

LP-637

James Moody - Last Train to Overbrook

Released 1958

Recording and Session Information

September 7, 8, 10, 1958, Chicago
"Fip" Ricard, Earl Turner, Sonny Cohn, trumpet; John Avant, trombone; Ethel Merker, french horn; Bill Adkins, Lenny Druss, alto saxophone; James Moody alto, tenor saxophone; Vito Price, Sandy Mosse, Eddie Johnson, tenor saxophone; Pat Patrick, britone Saxophone; Floyd Morris, Junior Mance, piano; John Gray, guitar; Johnny Pate, bass, arrnagements; Redd Holt, drums

9009 What's New
9010 There She Goes
9011 Don't worry About Me
9012 The Moody One (False Start)
9012 The Moody One
9013 Yvonne
9014 Last train From Overbrook
9015 All The Things You Are
9016 Tico Tico
9017 Brother Yusef
9018 Why Don't You

Track Listing

Last Train From Overbrook	James Moody	September 7, 8, 10, 1958
Don't Worry About Me	R. Bloom, T. Koehler	September 7, 8, 10, 1958
Why Don't You	Johnnie Pate	September 7, 8, 10, 1958
What's New	Haggart, Burke	September 7, 8, 10, 1958
Tico Tico	Chas K. Harris, Drake	September 7, 8, 10, 1958
There She Goes	James Moody	September 7, 8, 10, 1958
All The Things You Are	J. Kern and O. Hammerstein	September 7, 8, 10, 1958
Brother Yusef	Johnnie Pate	September 7, 8, 10, 1958
Yvonne	Johnnie Pate	September 7, 8, 10, 1958
The Moody One (False Start)		September 7, 8, 10, 1958
The Moody One	Johnnie Pate	September 7, 8, 10, 1958

Liner Notes

Jimmy Moody- has a right to wail his soul. As John Lewis of Chess Producing says, "Well done, baby; well done."

I remember so well the three pulse-pushing days that it took to record this album, every time I play it.

....

Jimmy took his first train to Overbrook in April of this year. In talking to him prior to his voluntary commitment at Overbrook, he sounded almost hopelessly drowned in the juice he was hung up with.

While we waited, Moody was pulling himself back toward his justified position as a great and soulful jazz man of our time. Came the end of August, Jimmy called and said he was straight and could I come to New York and talk about making the session we had discussed some months back.

Moody's voice sounded clear over the phone, and I was on my way to see him at Overbrook. Mrs. Ruby Watters, Jimmy's mother, is in my mind his spiritual force. Her trips to Overbrook on the suburban bus from Newark have given him the warmth in saying "my mom" (as corny as it may sound to some).

J. C. Heard and I went to talk with Jimmy and Dr. Munoz. The corridor between the main building and Ward 33 is where the three of us sat and The Last Train From Overbrook was assigned its cars and was preparing to depart.

After obtaining the permission of Dr. Munoz the session was originally planned for recording in New York, but the arranger that Moody had wanted to work with, was tied with prior commitments. So after some thought, permission was requested for Moody to come to Chicago and Johnny Pate was asked to write the charts. Moody caught a train from New York on Labor day and was at the studio on Tuesday morning before I got in from Detroit. He was practicing on a flute he had brought with him. We needed a tenor and alto. Through the aid of Johnny Sippel at the Billboard, the Selmer Instrument Company provided Jimmy with the horns he needed.

We were entering our third day of recording schedules. Before that, on Friday, we had completed recording the small group side of the Sandy Mosse date (Argo 639) in Chicago. Friday and Saturday nights we recorded the Ahmad Jamal Trio at the Spotlight Club in Washington (Argo 636).

Malcolm Chisholm and I had just deplaned our Capital flight 1 from Washington at 11:12 a.m., at 11:51 a.m. we arrived at our studios, 12:05 p.m. the musicians assembly had made a reality out of its first arrival. By ten minutes to one, Jimmy ascended the musical platform that Johnny Pate had put together in just five days of writing charts and calling the group for the gig.

The rest is for you to judge, the warmth of Moody and orchestra is here for you to listen to.

Jimmy, thank you!
DAVE USHER LAST TRAIN FROM OVERBROOK

The train station was empty. There was no one on the platform but James Moody. It was dark. It looked like rain. Moody's horn case and a small suitcase stood at his feet. He was waiting for the last train from Overbrook, Overbrook is a mental institution in Essex County, New Jersey.

Behind him stood the clean, quiet buildings of the hospital; behind that stood the awful memory of the alcoholic, sick, confused James Moody of the past. A train on another track howled across the New Jersey countryside, and a tremor underneath his feet marked the coming of the last train from Overbrook.

James Moody had been in the Institution for 5 months and this was his first time on his own since his family took him there for treatment.

The great Moody "Flutin' the Blues" band was gone. A big band recording dnte for Argo had been cancelled "because of darkness"...darkness in his mind. And the long, silver track seemed too long and too thin to ever carry him back to the clubs and concert halls.

Yet Moody stood there waiting for the train that would carry him across the eastern face of the land...to Chicago. Argo Records wanted that big band recording date, and had asked him to make it, and he had said yes. And the wear was upon him now as he waited to go there.

Would he make it? Or would he take the money and buy that one little drink for the road? One was all it took to start the whole scene over again.

The rumble under Moody's feet grew stronger, and the train's howl became a roar, and a white beam flashed down the track. The train came and Moody boarded it.

A train full of strangers is a lonely place to be.

The old fears crept in on him. The porter smiled and said, "The cocktail lounge is open, Sir."

Moody swallowed the dryness down his throat and pretended not to hear. The feeling was there...just one drink. Just a little taste. The wall and windows of Ward 33 came to his mind. The faces of his friends at Overbrook formed about him:

Dr. Anderson, the head doctor, Nurse Patterson, Mrs. Thompson of the Music Department. Names and Faces: Lay...Seber...Juda...Paige.

"The folks in Ward 33 are waiting to hear your album Jimmy." Somebody had said.

And the train rocked over and down the hills of New Jersey and Moody closed his eyes and rehearsed the songs he had written while waiting for this day: "Last Train From Overbrook", "There She Goes."

On Tuesday, September 8th, 1958, James Moody stepped off of the last train from Overbrook, only now it was in Chicago. The night had come and gone and he had not taken a drink.

Moody — the man, and Moody — the famous musician had become one: perhaps for the first time.

Dave Usher immediately contacted Johnny Pate; the brilliant bassist, arranger-composer, and Johnny, though leader of his own group, spent Tuesday, Wednesday, Thursday, Friday and Saturday writing arrangements for the 15 piece band which Argo had assembled for Moody's record date.

Johnny, an avowed disciple of Quincy Jones, said, "Moody has always been my favorite alto man. He told me to write something tasty and swinging...

Johnny Pate put everything he had into the band arrangements; contributing four of his own compositions, and transforming four standards into deeply felt portraits of emotion.

Moody stepped before the band and Dave Usher turned on the red SILENCE light and pointed his finger at Moody and Moody packed his stomach full of air and BLEW! All the tears he'd shed at Overbrook, all the happiness he felt right then was there. All the power he felt once again in his lungs, all the confidence.

Moody soared—not in the shadow of Bird but beside him in his own image.

The band crackled!

Johnny Pate, the proud, behind-the-scenes man, on bass. Red Holt on drums. The hard, clear toned trumpets of Sonny Cohn, "Fip" Ricard and Earl Turner booted Moody through ten songs. Trombonist John Avant punched out the train-like sounds of the Overbrook Express. And Ethel Merker came from the pit orchestra of "My Fair Lady" to howl the sad cry of the Overbrook train. Young Pat Patrick's baritone roared. And the tenors of Vito Price, Eddie Johnson and, of all people, Sandy Mosse roared back.

And Moody swung in front of it all, leading 14 pieces through his own wilderness and into his own light, carrying with him the altos of Lenny Druss and Bill Atkins. Two piano men took turns at jamming the chords: Floyd Morris, and the Powerhouse himself, Junior Mance and behind it all, stood guitarist John Gray...taking care of the business.

Up, up and up the band went, with Moody wailing on alto tenor and flute.

The Last Train From Overbrook is a brief history of and how one James Moody, musician, wailed...fell...got up and wailed again.

FRANK LONDON BROWN
Frank London Brown is the author of the soon to be published novel Trumbull Park and has contributed jazz articles and short stories to several disnnguished American magazines. Brown is an associate editor of Ebony Magazine. RECORDING ENGINEER MALCOLM CHISHOLM

Stereo recording made on an Ampex-30()S.
Monaural recording made on an Ampex-35().
Frequency response of equipment ± 2db 15cps—23kc.

Masters are made with little or no limiting of dynamic range, and are cut at a level of not more than 5 cm per second, to avoid overloading pickup cartridges. Masters are in all cases made to duplicate, as closely as possible, what was heard in the control room during the session. For best results, use RIAA playback equalizatjon. On this recording, use a microgroove stylus only.

LP-613

James Moody - Moody's Mood For Love

Released 1956

Recording and Session Information

December 14 1956, New York
Johnny Coles, trumpet; Donald Cole, trombone; James Moody, tenor saxophone, flute; Tate Houston, baritone saxophone; Jimmy Boyd, piano; John Latham, bass; Clarence Johnston, drums; Eddie Jefferson, vocals

8356 I'm in the mood for love
8357 Billie's bounce
8358 You go to my head
8359 Phil up

January 13 1957, Chicago
Johnny Coles, trumpet; James Moody, tenor saxophone, flute; Jimmy Boyd, piano, peckhorn; Benny Golson, piano; John Latham, bass; Clarence Johnston, drums

8383 Tenderly (unissued)
8384 Foolin' the blues
8385 Don't blame me (unissued)
8386 Mean to me
8387 Star dust
Plus eight

Foolin' The Blues	James Moody	January 13 1957
Plus Eight	James Moody	January 13 1957
I'm In The Mood For Love	McHugh-Fields	December 14 1956
Phil Up	James Moody	December 14 1956
You Go To My Head	Gillespie, Coots	December 14 1956
Billies Bounce	Charlie Parker	December 14 1956
Stardust	Carmichael, Parish	January 13 1957
Mean To Me	Ahlert, Turk	January 13 1957

Liner Notes

Any impressive performance demands an encore.

James Moody's first Argo album revealed not only his remarkable abilities as a jazz flutist, but also sold gratifyingly, proving, we guess, that you have the same admiration for him that we do.

So this is the second of what will undoubtedly become a series of Moody portraits in vinylite.

Moody's abrupt emergence as a flutist of great ability should come as no surprise to those familiar with his career. Since his initial national exposure as tencr soloist with Dizzy Gillespie's big band in 1947, through his prolonged stay in Europe from 1948-'51, where he influenced and spurred into action overseas jazzmen and became equally known for his alto work, right up to the present time, as leader of his own group, his distinctive style and fluent technique on the saxes have made him notable.

The addition of the flute to his onstand collection of horns was a logical step for a man of his musical curiosity to take. Audience response was immediate, and he has become a confident exponent of the instrument, one which has come into wide general use among jazzmen.

That he has in short order become one of the best is once more evidenced record-wise here, as he moves easily from the finger-snapping Foolin' the Blues to an extended, lovely Stardust, with stops along the way for the swinging Plus Eight, the vibrant Phil Up, and a thoughtful You Go to My Head.

Eddie Jefferson's King Pleasure-sprung vocals on I'm in the Mood for Love and Billie's Bounce, and Moody's moving alto solo on Mean to Me complete the set.

Here is a full rundown on the tracks.

Foolin' the Blues: Benny Golson's piano, Johnny Latham's bass, then the express-like drums of Clarence Johnson precede Moody's entrance. His three choruses are followed by alternate solos from Jimmy Boyd on peck horn and trumpeter Johnny Coles. The rhythm section plays catch with it for awhile before Moody closes out with shave-and-a-haircut. Six bits.

Plus Eight: Moody uses an interesting variation here as he first plays two choruses of blues, then an eight-bar bridge that is never again employed (hence the title), and back to 12-bar fluted blues for four more choruses, one chorus from piano, 12 bars of stop choruses, then out.

Phil Up: Moody stretches out like a cat here, digging incisively into a loosely-strung chordal framework of 16-bar length that neatly lends itself to improvising. More shave, more haircut, and more loot wrap it up.

You Go to My Head: Tate Houston's baritone sax provides the bottom voice in the quietly persuasive background to Moody's flutematism on this ballad, one which has become a standard vehicle for many a jazzman's explorations.

Billie's Bounce: Eddie Jefferson again, and he lays down a vocal line to the mid-'40s Charlie Parker original, the recording of which served to introduce Miles Davis to the jazz audience. Here the trumpeter is Coles, with Moody and Houston again in evidence.

Stardust: An obscure ballad written by movie actor Hoagy Carmichael features just rhythm, Moody, and Coles, who plays a lovely solo here. Especially dig Moody's haunting little coda.

Mean to Me: The great influence that Charlie Parker had on Moody's style is most obvious when James plays alto, as he does on this fine oldie. Coles once more follows Moody's opening chorus, Boyd comes in on piano, and Moody closes up shop plaintively. Though James Moody strangely continues to remain virtually ignored and unnoticed by jazz critics, he has a faithful vanguard of appreciators who are aware of his extraordinary swing, unbounded musical imagination, and ability to communicate with immediacy.

If you are not yet one of those who numbers himself in that group, listen to this album.

You will be.

The personnel on the following tunes: — I'm In The Mood For Love, You Go To My Head, Billies Bounce & Phil Up are as follows: James Moody-tenor & alto flufé; Jimmy Boyd-piano, Clarence Johnston-drums, Johnny Lathem-bass, Tate Housten-baritone, Johnny Coles-trumpet & Donald Cole — Recorded in N. Y. 12/14/56

The personnel on the following tunes — Stardust, Mean To Me, Plus Eight & Foolin' The Blues are as follows: James Moody-tenor & alto flute, Benny Golsen-piano, Jimmy Boyd-piano & peck horn, Johnny Coles-trumpet, Johnny Lathem-bass, Clarence Johnson-drums — Recorded in Chicago 1/13/57

Recording Engineer: JACK WEINER
Cover Design — CHUCK STEWART
Supervision: PHIL CHESS
CHESS RECORDS, 2120 South Michigan Ave., Chicago, Ill.

LP-603

 James Moody - Flute 'N The Blues

Released 1956

Recording and Session Information

Chicago, November 1 1956
James Moody, tenor saxophone, alto saxophone, flute; Johnny Coles, trumpet; William Shepherd, trombone; Pee Wee Moore, baritone saxophone; Jimmy Boyd, piano, peck horn; John Latham, bass; Clarence Johnston, drums; Eddie Jefferson, (tracks 2, 4, 7)
8049 Flute 'N The Blues
8050 Breaking The Blues
8051 Birdland Story
8052 Parker's Mood
8054 Boo's Tune
8055? I Cover The Waterfront
8056 It Could Happen To You
8057 Easy Living
8058 Body And Soul
8060 Richard's Blues

Track Listing

Flute 'N The Blues	Newboldt, Moody, Boyd	November 1 1956
Birdland Story	Jefferson, Moody	November 1 1956
It Could Happen To You	Burke, Van Heusen	November 1 1956
I Cover The Waterfront	Heyman, Green	November 1 1956
Body And Soul	Heyman, Green, Robert Sour, Frank Eyton	November 1 1956
Breaking The Blues	Acoa	November 1 1956
Parker's Mood	Charlie Parker	November 1 1956
Easy Living	Robin, Ranger	November 1 1956
Boo's Tune	Pleasent	November 1 1956
Richard's Blues	Moody, Newboldt	November 1 1956

Liner Notes

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...Indivduality 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 behind him, J. Moody really does what he so aptly calls, "The Thing"...I think you'll agree that, "The Thing" is really it!

There are two long grooves, one on the end of each side. On, "RICHARD'S BLUES," and the one and only, "BODY AND SOUL," MOODY is featured throughout, with some sparkling spots by a new trumpet talent, JOHNNY COLES, now a permanent member of the organization...Tenor on the 8 minute "Body," and, to coin a little used phrase, "Funky," Alto on the 7 minute, "Richard's"...

"I COVER THE WATEFRONT," "THE BIRDLAND STORY," and "PARKER'S MOOD" (with much less ominous lyrics), provide our vocalist, EDDIE JEFFERSON, with some groovy material upon which to work his particular magic. And swing away he does inventing his own words to two of Moody's previous instrumental solos on, "Waterfront," and, "Birdland." This cut of Bird's tune, incidentally, is the first to include his last chorus solo and also features more fine Johnny Coles trumpeting.... < /br>
JOHNNY really comes into his own on his featured number in the alburh, the beautiful, "EASY LIVING." The warmth and genuineness of his approach, and the peerless manner in which he carries it off, are indications that much more of lasting musical value will undoubtedly emanate from his horn in the near future...

Pianist, arranger, JIMMY BOYD, picked a peck of "Peck Horn," on which to show his wares, on another fine standard, "IT COULD HAPPEN TO YOU." The mellowness, almost velvet-like quality of this horn presents a new musical field in which to explore. Not as harsh, or difficult, as a French horn, not tinny as a mellophone, it, along with his fine piano spots throughout many of the sides, provides JIMMY with a real spring-board from which to enchant his many new fans...(After you hear him that is)...

The only tune left to discuss is the lead-in one on side B, "BREAKIN' THE BLUES." No discussion is necessary...It just SWINGSsssss...

PEE WEE MOORE, on Baritone, and WILLIAM SHEPHERD, on Trombone, along with Moody and Coles; complete the front line of the band...The men behind them are some of the most cohesive, and we don't mean sticky, rhythm merchants on the present day Jazz scene; BOYD on Piano, JOHN LATHAN, on Bass, and CLARENCE JOHNSON, on Drums...Their evenness and pulsating blend provides the terrafirma, as it were, from which the explorers could search the unknown, ...

"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 who "ear" this LP, the finished High Fidelity Product, will also have a glowing look of satisfaction upon your happy faces...js...

Joe Segal
Chicago Columnist, Metronome Magazine