JAM: April/May 2003 Issue: Folly Jazz News

by Doug Tatum

In the Mood for Jazz
It's hard to believe, but here I am writing about the last concert of the season for the 2002-2003 Folly Jazz Series. On Saturday, April 26, at 8:00 p.m., we will present the James Moody Quartet, which will feature pianist Bill Cunliffe, bassist Todd Coolman, and drummer Adam Nussbaum.

Whether he's playing the soprano sax, alto, tenor or flute, James Moody does so with the fluidity, deep resonance and wit that have made him one of the most consistently expressive and enduring figures in modern jazz. The concert will be preceded by a "JazzTalk" discussion, in which I will have the great pleasure and honor of visiting with James Moody about his life in jazz.

James Moody was born in Savannah, Georgia, in 1925 and grew up in Newark, New Jersey. He 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 after hearing Buddy Tate and Don Byas perform with the Count Basie Band at the Adams Theater in Newark. In 1947, following service in the U.S. Air Force, Moody joined the seminal bebop big band of Dizzy Gillespie, beginning an association that afforded him worldwide exposure and ample opportunity to develop his improvisational genius. Upon joining Gillespie, Moody was at first awed, he now admits, by the orchestra's incredible array of talent, but with time and the encouragement of the legendary trumpeter, the young saxophonist made his mark -- his 16-bar solo on Gillespie's "Emanon" alerted jazz fans to an
emerging world-class soloist. During this time, Moody also recorded for Dial Records with trumpeter Howard McGhee and vibraphonist Milt Jackson. One year later he made his recording debut as a leader, James Moody and His Bebop Men (Blue Note), employing players from the Gillespie band.

In 1949, Moody moved to Europe, where he recorded the masterpiece improvisation for which he is renowned, "I'm In the Mood for Love." This solo will be remembered in jazz history side by side with Coleman Hawkins' classic solo on "Body And Soul." With lyrics written and performed by Eddie Jefferson, Moody's solo became "Moody's Mood For Love," which was later recorded by King Pleasure (Clarence Meeks) and many others over the years.

Returning to the States in 1951, his stardom assured, Moody worked frequently with Dinah Washington and Eddie Jefferson. In 1963, he rejoined Gillespie and performed in the trumpeter's quintet for the remainder of the decade. Moody moved to Las Vegas in 1970 but returned East several years later. In 1985, his career received a boost with a Grammy Award nomination for "Best Jazz Instrumental Performance" for his playing on Manhattan Transfer's Vocalese album, thus setting the stage for his reemergence as a major recording artist.

Respect for tradition, coupled with a hunger for discovering new paths, is the essence of James Moody's musical life. "I'm busy practicing," he remarks. "I want to play better tomorrow than I do today, on all my instruments. There's music in my head that hasn't come out yet."

Those of you who caught James Moody last year at the Gem Theater know that he's a great entertainer, in addition to being a great musician. (What outrageously wild jokes he tells!) For more information, please call the Folly Theater at 816-474-4444.






	Search our site:		by Doug Tatum In the Mood for Jazz It's hard to believe, but here I am writing about the last concert of the season for the 2002-2003 Folly Jazz Series. On Saturday, April 26, at 8:00 p.m., we will present the James Moody Quartet, which will feature pianist Bill Cunliffe, bassist Todd Coolman, and drummer Adam Nussbaum. Whether he's playing the soprano sax, alto, tenor or flute, James Moody does so with the fluidity, deep resonance and wit that have made him one of the most consistently expressive and enduring figures in modern jazz. The concert will be preceded by a "JazzTalk" discussion, in which I will have the great pleasure and honor of visiting with James Moody about his life in jazz. James Moody was born in Savannah, Georgia, in 1925 and grew up in Newark, New Jersey. He 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 after hearing Buddy Tate and Don Byas perform with the Count Basie Band at the Adams Theater in Newark. In 1947, following service in the U.S. Air Force, Moody joined the seminal bebop big band of Dizzy Gillespie, beginning an association that afforded him worldwide exposure and ample opportunity to develop his improvisational genius. Upon joining Gillespie, Moody was at first awed, he now admits, by the orchestra's incredible array of talent, but with time and the encouragement of the legendary trumpeter, the young saxophonist made his mark -- his 16-bar solo on Gillespie's "Emanon" alerted jazz fans to an emerging world-class soloist. During this time, Moody also recorded for Dial Records with trumpeter Howard McGhee and vibraphonist Milt Jackson. One year later he made his recording debut as a leader, James Moody and His Bebop Men (Blue Note), employing players from the Gillespie band. In 1949, Moody moved to Europe, where he recorded the masterpiece improvisation for which he is renowned, "I'm In the Mood for Love." This solo will be remembered in jazz history side by side with Coleman Hawkins' classic solo on "Body And Soul." With lyrics written and performed by Eddie Jefferson, Moody's solo became "Moody's Mood For Love," which was later recorded by King Pleasure (Clarence Meeks) and many others over the years. Returning to the States in 1951, his stardom assured, Moody worked frequently with Dinah Washington and Eddie Jefferson. In 1963, he rejoined Gillespie and performed in the trumpeter's quintet for the remainder of the decade. Moody moved to Las Vegas in 1970 but returned East several years later. In 1985, his career received a boost with a Grammy Award nomination for "Best Jazz Instrumental Performance" for his playing on Manhattan Transfer's Vocalese album, thus setting the stage for his reemergence as a major recording artist. Respect for tradition, coupled with a hunger for discovering new paths, is the essence of James Moody's musical life. "I'm busy practicing," he remarks. "I want to play better tomorrow than I do today, on all my instruments. There's music in my head that hasn't come out yet." Those of you who caught James Moody last year at the Gem Theater know that he's a great entertainer, in addition to being a great musician. (What outrageously wild jokes he tells!) For more information, please call the Folly Theater at 816-474-4444. Doug Tatum is the Executive Director of the Folly Theater. RETURN TO APRIL/MAY 2003 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2003. All rights reserved.