CELEBRATION OF LOVE AND LIFE IN HONOR OF JAMES MOODY - 2011 /03 /28

Bill Cosby, MC 
Kenny Barron, piano 
Cyrus Chestnut, piano 
Todd Coolman, bass 
Paquito D’Rivera, clarinet 
Roberta Gambarini, vocals 
Greg Hutchinson, drums 
Greg Gisbert, trumpet 
Roy Hargrove, trumpet 
Antonio Hart, alto 
Jimmy Heath, tenor 
John Lee, bass 
Najee, soprano saxophone 
Lewis Nash, drums 
Adam Nussbaum, drums 
Justyn Robinson, alto 
David Sanborn, alto saxophone 
Yotam Silberstein, guitar 
Gary Smulyan, baritone saxophone 
Lew Tabackin, tenor 
Frank Wess, tenor saxophone

For over six decades, saxophone master James Moody serenaded lovers with his signature song Moody's Mood for Love an improvisation on the chord progressions of I'm in the Mood for Love. 

Born in Savannah, Georgia on March 26, 1925, and raised in Newark, New Jersey, James Moody took up the alto sax, a gift from his uncle, at the age of 16. Within a few years he fell under the spell of the deeper more full-bodied tenor saxophone after hearing Buddy Tate and Don Byas perform with the Count Basie Band at the Adams Theater in Newark, New Jersey. 

In 1946, following service in the United States Air Force, Moody joined the seminal bebop big band of Dizzy Gillespie, beginning an association that - on stage and record, in orchestras and small combos - afforded a young Moody worldwide exposure and ample opportunity to shape his improvisational genius. Upon joining Gillespie, Moody was at first awed, he now admits, by the orchestra's incredible array of talent, which included Milt Jackson, Kenny Clark, Ray Brown, Thelonius Monk. The encouragement of the legendary trumpeter-leader, made his mark on the young saxophonist. His now legendary 16-bar solo on Gillespie's Emanon alerted jazz fans to an emerging world-class soloist. 

During his initial stay with Gillespie, Moody also recorded with Milt Jackson for Dial Records in 1947. One year later he made his recording debut as a leader James Moody and His Bop Men for (Blue Note).

In 1949 Moody moved to Europe where in Sweden he recorded the masterpiece of improvisation for which he is renowned, Moody's Mood for Love. Returning to the States in 1952 with a huge "hit" on his hands, Moody employed vocalist Eddie Jefferson. Also, working with him during that period were Dinah Washington and Brook Benton. 

In 1963 he rejoined Gillespie and performed off and on in the trumpeter's quintet for the remainder of the decade. Moody moved to Las Vegas in 1973 and had a seven year stint in the Las Vegas Hilton Orchestra, doing shows for Bill Cosby, Ann-Margaret, John Davidson, Glen Campbell, Liberace, Elvis Presley, The Osmonds, Milton Berle, Redd Foxx, Charlie Rich, and Lou Rawls to name a few. 

Moody returned to the East Coast and put together his own band again - much to the delight of his dedicated fans. In 1985, Moody received a Grammy Award Nomination for Best Jazz Instrumental Performance for his playing on Manhattan Transfer's Vocalese album thus setting the stage for his re-emergence as a major recording artist. 

Moody's 1986 (RCA/NOVUS) debut Something Special ended a decade-long major label recording hiatus for the versatile reedman. His follow-up recording, Moving Forward showcased his hearty vocals on What Do You Do and his interpretive woodwind wizardry on such tunes as Giant Steps and Autumn Leaves. 

Music is more than a livelihood to Moody, so much so that portions of Sweet and Lovely, dedicated to his wife, Linda, figured prominently in the saxophonist's wedding ceremony on April 3, 1989. As well as being on the album, Gillespie was best man at the wedding for his longtime friend. The bride and groom walked down the aisle to Gillespie's solo on Con Alma then everyone exited the church to the vamp on Melancholy Baby. As their first act of marriage Linda and James Moody took communion accompanied by the groom's recording of Sweet and Lovely. In 1990, Moody and Gillespie received a Grammy Award Nomination for their rendition of Gillespie's Get the Booty, which showcases scatting at its best. Moody returns the soprano sax to his woodwind arsenal on Honey, his nickname for his wife, Linda, and Moody's last recording for (RCA/NOVUS). 

On March 26th, 1995 Moody got the surprise of his life with a birthday party in New York. It was an evening of historical significance for Jazz with many guest stars and Bill Cosby as the emcee. It can be heard on Telarc's recording, Moody's Party-- James Moody's 70th, Birthday Celebration, Live at the Blue Note. 

In 1995 Moody's (Warner Bros.) release of Young at Heart, was a tribute to songs that are associated with Frank Sinatra. With an orchestra and strings many people feel this is among the most beautiful of all James Moody recordings. 

Moody's last recording for Warner Bros. is Moody Plays Mancini which showcases Moody on all of his horns and flute. A tribute to the American icon Henry Mancini. 

Moody's 2004 release of Homage on the Savoy Label has been a great cause for celebration. His first new studio album in 6 years, the aptly named Homage is a tribute to Moody featuring new tunes specially written for him by the likes of Joe Zawinul, Chick Corea, Kenny Barron, Horace Silver, Herbie Hancock, David Hazeltine and Marc Copland. Bob Belden produced the project. 

His last CD, 4B just won a Grammy Award for best instrumental jazz recording. Featuring standards and two originals by pianist Kenny Barron, the recording is a testament to Moody's strength both as a saxophonist and indidivdual well into his 80s. 

At 85 years young, Moody left us on December 9, 2010. Tonight's concert is a celebration of life and love with so many incredible musicians that have been taught and influenced by Moody.

A Message from Linda Moody

Dec 9, 2010
Dear Friends,

My sweet, darling, precious husband died today at 1:07 PM after a 10 month fight with Pancreatic Cancer. Because my greatest wish was to ensure that Moody transitioned peacefully and quietly we have been at San Diego Hospice and Institute for Palliative Medicine since last Monday. With their help my wish was granted. I feel so grateful for the privilege of being this amazing man’s wife for almost 22 years.

I learned so much from this beautiful gracious, kind person. The most important lesson being how to participate unconditionally in the most amazing love affair one could possibly imagine. Moody had two goals. One, to go to a special friend’s wedding on 10/10/10, and two, to see his great-grandson born on October 22nd. He made both of those goals and even came to Thanksgiving dinner long enough to tell the family how much he loved all of them. We have a very close, very loving family and Moody has made such a difference in our lives.

God has put people in our lives that have presented amazing gifts to us medically and personally. Moody and I have felt love all around us since we started this journey last February. I want to thank Moody’s internationally acclaimed surgeon, Dr. Babs Moossa, who has been our Angel and stood by us constantly since Moody was released from the hospital last May. Dr. Moossa has always given us the best advice and been there for all of Moody’s needs.

Many of you have met Dr. Jerome Robinson and his wife, Pamela on the Jazz cruises. They have been the reason Moody’s heart has kept ticking for the last 15 years. I wish to thank them for their wonderful friendship and going above and beyond for Moody’s care. Pam and Jerome are very special people.
Thank you to Dr. Charles Kossman, Moody’s oncologist, who has seen us through this last faze of my husband’s life. Dr. Kossman is a very kind, loving man and completely supported Moody’s decision not to have treatment and enjoy the time he had left.

I want to acknowledge Moody’s wonderful, caring Hospice Team; Yvonne, Al, Jack and Mindy, who were always there when we needed them.

Thank you to all the friends and Moody fans who have sent thousands of well wishes on Facebook, e-mail and cards to my precious husband. He was astonished at the outpouring of love.

A public service will be held on Saturday, December 18th. There will be a morning viewing at Greenwood Memorial Park, 4300 Imperial Avenue, San Diego, 92113 and graveside service at 12:30 PM. Then at 2 PM, there will be a celebration of Moody’s life at Faith Chapel, 9400 Campo Rd in Spring Valley, 91977, officiated by Pastor Charlie Gregg, who married us almost 22 years ago.

Thank you so much for your love and concern,
Mrs. James Moody (Linda)

The Many Moods Of James Moody....

Millions of listeners know James Moody, even if they don't know him by name. He composed one of the most enduring songs in American music, "Moody's Mood for Love," and he did it with on-the-spot improvisation.

Even Aretha Franklin sang it. He's made an unforgettable film appearance, walking an invisible dog in Clint Eastwood's Midnight in the Garden of Good and Evil. He splashes more cologne than any one person should use, yet his kiss-on-both-cheeks greeting is treasured for its sincerity, even if the scent marks the recipient for the rest of the day.

Moody is one of bebop's finest practitioners, and he's made tremendous music for more than 60 years. As a partially deaf child in Newark, N.J., he battled the perception that he was mentally retarded (to use the term of the day). As a member of a segregated Air Force band, he suffered the indignity of racism in 1940s America. He battled an addiction to alcohol.

Listen on:

 http://www.npr.org/blogs/ablogsupreme/2010/11/22/131510108/the-many-moods-of-james-moody

http://www.npr.org/blogs/ablogsupreme/2010/11/22/131510108/the-many-moods-of-james-moody

Complete on  >>  http://www.npr.org/blogs/ablogsupreme/2010/11/22/131510108/the-many-moods-of-james-moody?sc=nl&cc=jn-20101128

James Moody....

The news about James Moody is not good. He has been aware of it for some time, but kept it private until this week. No one who knows him will be surprised that he is at peace with the decision he has made. Here is the first paragraph of George Varga's story in The San Diego Union Tribune.

Jazz saxophone legend James Moody, a San Diego resident for the past 21 years, has disclosed that he has had pancreatic cancer since at least February -- and that he had decided not to receive any chemo therapy or radiation treatment.

To read all of the article, go here.
The last time we were together, in 2007—too long ago—I interviewed Moody on stage at a festival. He reminded me that we had known each other for 50 years and had the kindness to inflate my ego by telling the audience, "And we've been buddies, too." Then he went on to play an astonishing set with the Bill Mays Trio. Go here for a Rifftides account of his concert on that occasion.
On Moody's 83rd birthday, WBGO-FM, the jazz station in Newark, New Jersey, put together this profile using his own words. It summarizes his attitude toward music, people and life.



Now, the musical part of that philosophy in action: Moody has the first solo in this 1985 performance of Dizzy Gillespie's "Ow," with Gillespie, Ray Brown, Gene Harris and Grady Tate.



Please take a moment to give a thought to James Moody.

From  >>  http://www.artsjournal.com/rifftides/2010/11/james_moody.html

NEA Jazz Master James Moody returns to the recording scene with his sixth appearance...

NEA Jazz Master James Moody returns to the recording scene with his sixth appearance on IPO, Moody 4B, the swinging sequel to last year’s critically acclaimed Moody 4A. Made in New York City in July of 2008 the disc marks Moody’s 60th year as a recording artist. Of the many great records that he’s made during those six decades he considers these among his most special.

Moody says, “This recording was a total pleasure because producer Bill Sorin let me be me, musically. So many of the previous producers of my albums wanted a “concept.” Well, how about the concept being “Moody”? Bill is wonderful!!” And so is the record. With the spotlight focused on Moody’s brilliant playing, without the demands of trying to squeeze his ingenious improvisations into someone else’s preconceived model, we hear this jazz icon at his imaginative peak, free to be totally creative playing the music he loves the most.

As on Moody 4A the leader is once again reunited with longtime friend and fellow NEA Jazz Master pianist Kenny Barron who first made his mark playing together with the virtuoso saxophonist in his quartet and later upon his recommendation joined the saxist as a member of Dizzy Gillespie’s band. “Kenny is a master and I always love working with him,” Moody says affectionately. “ I first played with him when he was 18 years old and I have loved him ever since.

He is a very spiritual person and it comes through in his music.” Joining the pair are bassist Todd Coolman, who Moody says “is like my right hand,” noting their 25 plus years of working together; and drummer Lewis Nash, who has played off and on together with the leader for many years and of whom Moody says “I admire him as a person and a musician.” The leader continues, “Choosing the music was a collaborative effort. I value everyone’s opinion and each musician had input and great suggestions. Of course, Kenny, Lewis and Todd are all masters in their own right and each always contributes greatly to any project in which they are involved.”

In his witty liner notes to the date, Ira’s Gitler, who has been listening to Moody almost since the saxophonist first came to New York way back in the Forties, points out that this follow-up to Moody 4A could be considered “too much of a good thing,” but is really more like “can’t get enough of it.” As on 4A, 4B presents the quartet interpreting, as Gitler notes, a selection of “pearls from the Great American Songbook as well as gems from the Great American Jazz Standards Library.” Moody describes Gitler as “ a walking history book” and says, “reading Ira’s liner notes is like going to school.”

Beginning with Barron’s easy striding piano intro to Billy Strayhorn’s classic Ellington theme “Take The A Train” it’s obvious that the band will be adding its own twists to this familiar material, particularly Moody whose gorgeous tone is in full bloom on the melody and unparalleled technical command of the tenor saxophone (which he plays exclusively on the date, leaving his alto and flute in their cases) is unveiled on his first of many brilliant improvisations that eschew the typical hackneyed chord progressions so common these days in favor of his own inventions which are always full of subtle revelations.

Other selections include a much slower than commonly heard reading of Tadd Dameron’s “Hot House,” affording listeners the opportunity to savor Moody’s sound and ideas, a dancing Latin tinged version of “Speak Low” and a truly stirring rendition of “Polka Dots and Moonbeams,” demonstrating that at 85 there is no one alive who plays a ballad better than Moody.

The quartet’s cha-cha-ish arrangement of “I Love You” keeps things moving. A pair of originals, Coolman’s “O.P.’s Update” and Barron’s “Nikara’s Song,” have the band traveling from classic bebop to Miles and Trane-ish modality. “Along Came Betty” is a swinging tribute to Moody’s fellow octogenarian saxophonist Benny Golson prior to the set closing out with a beautiful version of “But Not For Me.”

James Moody’s output for IPO has been nothing short of astounding. His Our Delight with Hank Jones is a genuine masterpiece comprised of the bebop themes of Gillespie and Dameron. His appearances on the dates One More and One More – The Summary and With Malice Towards None add luster to the music of two of jazz’s greatest composers, Thad Jones and Tom McIntosh, respectively. Moody 4B is a fine addition to the discography where once again he is heard at his very best, just being himself. What a truly great concept – “Moody.”

Artist Website: http://www.jamesmoody.com/
Label Website: http://www.iporecordings.com/
IPO Recordings Distributed By Allegro: http://www.allegro-music.com/

From  >>  Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jazzpromo@earthlink.net


Dizzy Gillespie and the United Nation's Orchestra:
Moody's Mood For Love (James Moody)

James Moody 4B Street Date August 25, 2010

James Moody 4B

James Moody-tenor saxophone,
Kenny Barron-piano,
Todd Coolman-bass,
Lewis Nash-drums

NEA Jazz Master James Moody returns to the recording scene with his sixth appearance on IPO, Moody 4B, the swinging sequel to last year’s critically acclaimed Moody 4A. Made in New York City in July of 2008 the disc marks Moody’s 60th year as a recording artist. Of the many great records that he’s made during those six decades he considers these among his most special. Moody says, “This recording was a total pleasure because producer Bill Sorin let me be me, musically.

So many of the previous producers of my albums wanted a “concept.” Well, how about the concept being “Moody”? Bill is wonderful!!” And so is the record. With the spotlight focused on Moody’s brilliant playing, without the demands of trying to squeeze his ingenious improvisations into someone else’s preconceived model, we hear this jazz icon at his imaginative peak, free to be totally creative playing the music he loves the most.

As on Moody 4A the leader is once again reunited with longtime friend and fellow NEA Jazz Master pianist Kenny Barron who first made his mark playing together with the virtuoso saxophonist in his quartet and later upon his recommendation joined the saxist as a member of Dizzy Gillespie’s band. “Kenny is a master and I always love working with him,” Moody says affectionately.

“ I first played with him when he was 18 years old and I have loved him ever since. He is a very spiritual person and it comes through in his music.” Joining the pair are bassist Todd Coolman, who Moody says “is like my right hand,” noting their 25 plus years of working together; and drummer Lewis Nash, who has played off and on together with the leader for many years and of whom Moody says “I admire him as a person and a musician.” The leader continues, “Choosing the music was a collaborative effort. I value everyone’s opinion and each musician had input and great suggestions. Of course, Kenny, Lewis and Todd are all masters in their own right and each always contributes greatly to any project in which they are involved.”

In his witty liner notes to the date, Ira’s Gitler, who has been listening to Moody almost since the saxophonist first came to New York way back in the Forties, points out that this follow-up to Moody 4A could be considered “too much of a good thing,” but is really more like “can’t get enough of it.” As on 4A, 4B presents the quartet interpreting, as Gitler notes, a selection of “pearls from the Great American Songbook as well as gems from the Great American Jazz Standards Library.” Moody describes Gitler as “ a walking history book” and says, “reading Ira’s liner notes is like going to school.”

Beginning with Barron’s easy striding piano intro to Billy Strayhorn’s classic Ellington theme “Take The A Train” it’s obvious that the band will be adding its own twists to this familiar material, particularly Moody whose gorgeous tone is in full bloom on the melody and unparalleled technical command of the tenor saxophone (which he plays exclusively on the date, leaving his alto and flute in their cases) is unveiled on his first of many brilliant improvisations that eschew the typical hackneyed chord progressions so common these days in favor of his own inventions which are always full of subtle revelations.

Other selections include a much slower than commonly heard reading of Tadd Dameron’s “Hot House,” affording listeners the opportunity to savor Moody’s sound and ideas, a dancing Latin tinged version of “Speak Low” and a truly stirring rendition of “Polka Dots and Moonbeams,” demonstrating that at 85 there is no one alive who plays a ballad better than Moody. The quartet’s cha-cha-ish arrangement of “I Love You” keeps things moving. A pair of originals, Coolman’s “O.P.’s Update” and Barron’s “Nikara’s Song,” have the band traveling from classic bebop to Miles and Trane-ish modality. “Along Came Betty” is a swinging tribute to Moody’s fellow octogenarian saxophonist Benny Golson prior to the set closing out with a beautiful version of “But Not For Me.”

James Moody’s output for IPO has been nothing short of astounding. His Our Delight with Hank Jones is a genuine masterpiece comprised of the bebop themes of Gillespie and Dameron. His appearances on the dates One More and One More – The Summary and With Malice Towards None add luster to the music of two of jazz’s greatest composers, Thad Jones and Tom McIntosh, respectively. Moody 4B is a fine addition to the discography where once again he is heard at his very best, just being himself. What a truly great concept – “Moody.”

Tour
August 23 James Moody Scholarship Concert, Blue Note, New York
August 24 - 29 James Moody Quartet, Blue Note, New York
August 29 Charlie Parker Festival, NYC
October 9 Guest with the Manhattan Transfer, Florida
December Penang Jazz Festival, Malaysia

Artist Website: http://www.jamesmoody.com/
Label Website: http://www.iporecordings.com/

Jim Eigo Jazz Promo Services, E-Mail: jazzpromo@earthlink.net

Papo Vazquez & James Moody At the Village Gate

Videoed by Charlie Santiago.-(Leader & Timbal player of Son Primero)-Part 2 of Papo Vazquez & James Moody as a guest star at the Village Gate. August 18, 1986

Mon 18th-Wed 20th May: The Dizzy Gillespie All Stars feat. James Moody

Ronnei Scott's - History has produced its share of great artists and great people - John Birks "Dizzy" Gillespie was both. As a performer, he left behind an incredible record of innovation and inspiration; as a composer, a broad repository of musical masterpieces; and as a man, a legion of friends, colleagues and compatriots who remember him with the same degree of love and esteem they reserve for his work. James Moody and Locksley ‘Slide’ Hampton lead this truly ‘all-star’ band of international players - a veritable who’s who among jazz musicians continuing the legacy of the great trumpeter and his music.