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-612

John Young Trio - Young John Young

Released 1956

Recording and Session Information

Chicago, Illinois 1956
John Young, piano; Herbert Brown, bass; Larry Jackson, drums

8364 Bags' groove
8365 The boy next door
8366 Star eyes
8367 The continental
8368 It never entered my mind
8369 Cherry pink and apple blossom white
8370 Invitation
8371 Three penny opera
8372 Close to me
8373 Theme from "Warsaw concerto"

Track Listing

Three Penny Opera		1956
Cherry Pink and Apple Blossom White		1956
Invitation		1956
Star Eyes		1956
Warsaw Concerto		1956
It Never Entered My Mind / Spring Is Here		1956
The Boy Next Door		1956
Bags’ Groove		1956
Close to Me		1956
The Continental		1956

Liner Notes

Approaching his middle thirties, pianist, John Young, still maintains in his musical approach the same youthful exuberance and sparkle that has, since his early playing days, been the dominant factor in his everlasting popularity, with audience and fellow musician alike.

Listing such top musicians as his leader over a period of 15 years of professional music-making, as Andy Kirk, Gene Ammons, Eddie Chamblee, Ben Webster, Sonny Stiff, and King Kolax, "Young John Young", has run the gamut of popular musical expression, from society-tinged dance music and rhythm & blues, to the purest forms of swinging Jazz.

Born in Little Rock, Arkansas, John hit Chicago early enough to begin his initial schooling here, and before terminating it, had, as have the maiority of the Southsides top musicians, undergone the valuable teaching of Capt. Walter Dyett, the renowned musical director of DuSable High School.

After too many years on the road with the various leaders listed, John decided to make his own mark in the musical world, and formed the versatile trio he now directs. After a period at the famous BeeHive, as a complete rhythm section for the various stars that appeared there, John moved his group to the intimate 63rd St. spot known as the Kitty Kat club, where he has been for the past two years.

When cutting this album it was decided to give his new-found audience the opportunity to hear the many faceted forms of John's artistry, and therefore it was agreed to present each side as near as possible as a complete set would be presented on the stand most any night at the Kitty Kat.

Since the inception of his present group, John has been able to maintain the same sidemen...Herbert Brown, bass and Larry Jackson, drums...which as anyone in the music business will attest to, is quite a managerial accomplishment. The interplay, and counter-balancing that add so much to the trio's musical Value are the results of this long and profitable association of these three top modern musicians.

I think you, the listener, will agree whole-heartedly with me, in the premise that though John Young has reached the age of maturity when musical habit usually supplants adventuresomeness, he still maintains, with uncompromising consistency, the youthful awareness and daring which makes his playing, and his Trio, a musical treat to behold. This, then is "Young, John Young", and this album couldn't have happened to a nicer guy.

JOE SEGAL
Chicago Columnist,
Metronome Magazine

THE MUSIC
SIDE ONE
1. A typical set would open with the swinging approach to the theme from "The Three Penny Opera", "MACK THE KNIFE", with drummer Jackson providing the constant bongo beat around which Brown plays a walking two-four time, and John embellishes to his happy heart's content. A most enioyable set opener.

2. Number two selection is a drum showcase for Larry Jackson, in which his fondness for the Latin American rhythms shines through, and surrounds John's interpretation Of '*CHERRY PINK & APPLE BLOSSOM WHITE".

3. "INVITATION", the pretty, and relaxed third tune maintains the Latin feeling, and demonstrates that togetherness previously mentioned.

4. The tune "Bird" helped to re-establish as a favorite, "STAR EYES", is given a bounce treatment between the Latin intro and out riff, with some swingy fours between piano and drums adding a nice snap to entire proceedings.

5. A complete departure from the Jazz bent tunes in the trios repertoire is the closing selection of set (side) one. the main theme from the beautiful, "WARSAW CONCERTO", which flows almost imperceptably from the straight no-tempo Statement of the famous melody into the merest suggestion of a swinging lilt. Herein, John Young most easily demonstrates just exactly why the respect he garners from world renowned musicians is so well deserved.

SIDE TWO
l. John's choice of two lovely ballads, NEVER ENTERED MY MIND", and "SPRING IS HERE", arranged in medley style, opens the curtain on set two, and shows off Herbert's excellent bowing talents to great advantage.

2. Happiness is the tune called, / "THE BOY NEXT DOOR", as played by John Young's Trio, with bass and drum breaks figuring in as part of the melodic line. John's sometimes obvious affinity for the great Art Tatum enhances portions of this tingly affair.

3. "BAGS GROOVE", for me, is one of the high spots of the entire session, with John's first flurries of runs after the opening theme providing an excellent example of just how vigorously exciting a controlled raucousness can be...Herbert's bass solo and Larry's four bar breaks finish out this most swinging side, with the triple ending bouncing things off into the mood that's iust right for the next tune.

4. Ballad time again, with the pretty original, "CLOSE TO ME", relaxing the feeling once more into a low pressure groove; the kind of groove that in a small intimate spot leads to the happy ringing of the cash register.

5. To close out the set and this album John chose the evergreen, "THE CONTINENTAL," and more apropo this choice could not be; for throughout this, his first LP, John Young's musical talent has proven its worldly scope.

Recording Engineer — JACK WEINER
Supervision —PHIL CHESS

LP-611

Ramsey Lewis and his Gentle-men of Swing

Released 1956

Recording and Session Information

Chicago, Illinois 1956
Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums

8242 Carmen
8243 The wind
8244 Bei mir bist du schon
8245 I'll remember April
8246 My funny Valentine
8247 Steeplechase

Chicago, Illinois 1956
8324 Fantasia for drums
8325 Jumpin' Jaque (unissued)
8326 Dee's new blues
8327 Trees
8328 Limelight
8329 Untitled (unissued)

Track Listing

Carmen	Public Domain	1956
I'll Remember April	Raye, De Paul, Johnston	1956
The Wind	Russ Freeman	1956
Bie Mir Bist Du Schoen	Jacobs, Cahn, Chaplin, Secunda	1956
My Funny Valentine	Rodgers, Hart	1956
Fantasia For Drums	Ramsey Lewis	1956
Dee's New Blues	El Dee Young	1956
Tres	Ramsey Lewis	1956
Limelight	Gerry Mulligan	1956

Liner Notes

Drums: Isaac "Red" Holt

A fine drummer from Chicago's West Side who studied at the Chicago School Of Music. While working at Union Park Temple he completed rhythm section for jazz luminaries James Moody, Lester Young and the late Charlie Parker.
"Red" tries to show, in his playing, that the drum is not just an instrument to pound on or carry a rhythm, but that it can also be played melodically. That it can "speak to you in melody."

Bass: El Dee Young

A young bassist whose intricate work reveals his early guitar study.
He studied bass at the American Conservatory of Music.
El Dee is trying to exploit the full potentials of the bass – not simply confine it to the rhythm section. In this he follows the tradition of Percy Heath, Ray Brown and Oscar Pettiford.

Piano: Ramsey Lewis

A Chicagoan who has won awards for his piano artistry from the National Federation of Music Clubs and American Society of Musicians as well as scholarships to Roosevelt University and Chicago Musical College.
At first a classical pianist who, after hearing such moderns as Art Tatum, Bud Powell and John Lewis turned to modern jazz.
While Ramsey plays a superb solo piano, his aim – visibly apparent in this LP – is to present the trio as a unified musical unit.

RAMSEY LEWIS ALBUM

You lovers of modern sounds...this is a pleasure...we treasure...beyond measure. Introducing Ramsey Lewis amd his gentle, gentlemen of modern swing.

Upon first hearing this group we felt that all to long they had languished in jazz spots where no one listened. This group need the "ears" of the more astute jazz listeners, because their work is in the modern tradtion of the Chico Hamilton group, and the Modern Jazz Quartet. with this thought, notice the extremely wrought arrangements, the delicate instrumental balance and the superbly unified effect their work gives.

This L.P. was designed with you...the discriminiating music lover in mind.
Hearing this group is like meeting a beautiful woman...each meeting a unique and delightful experience.
Now for some musical excitement and delightment...open the arms of this L.P...and let the subtle sounds of the trio caress your ears.

Your musical host who loves you the most.

Swingcerely yours,

Holmes Daddy-O Daylie
W.M.A.Q
N.B.C. Chicago

Billboard - April 29, 1957:

As a jazz pianist, classically trained Ramsey Lewis plays much in the economical introspective style of another Lewis – John. His trio is the chamber-soft tradition of the other Lewis' group, the MJQ. It's a deft, unified musical unit, but the "blowing" is limited. However, this LP is recommended for the sheer competence of the players, and its almost certain sales appeal to buyers on the jazz-classical periphery – those attracted by thoughtful, if somewhat restrained, jazz packages.