Thursday, November 26, 2015

James Moody - Cookin' The Blues (1961) [vinyl>flac]

The genius of Moody! It's an album like this that you need to prove to your friends that Moody was way more than a simple bopper. The set was recorded live in San Francisco in 1961, and it's got a hip mix of soul jazz, filtered through some modernist ideals, all played by a great little group that includes Bernard McKinny on trombone, Howard McGhee on trumpet, Musa Kaleem on baritone, and Sonny Donaldson on piano. Eddie Jefferson sits in for 2 numbers - "Disappointed" and "Sister Sadie" - and other tracks include "One For Nat", "Bunny Boo", "Moody Flooty", and "Home Fries". © Dusty Groove, Inc.

Cookin’ the Blues”, features his septet recorded live at the Jazz Workshop in June 1961, during his tour on the West Coast. Moody, wonderfully relaxed and in good form, fronts a band (with trumpeter Howard McGhee in his come back to the coast) offering inspired performances and more musical content than groups with a bigger name. Eddie Jefferson was also was one of the moving forces behind the whole show, with his humorous, and happily frantic singing. ~ Fresh Sound Records.

This album was recorded live in San Francisco and the band sound on good form with well worked and, most likely, well-rehearsed ensembles. The opening blues, The Jazz Twist, has Moody playing alto although he sounds equally at home on this or tenor sax. These are very well cooked blues and Moody is on sparkling form on both this and the studio set that follows. He digs into the blues on the opening selection and again on Bunny Boo, measuring his solo phrasing carefully as the rhythm section pulses along beside him. Moody Flooty has the leader showing how well he can perform on flute, his tone strong and his ideas forming unimpeded. The rhythm section plays well throughout. Arnold Enlow, who is aka Buddy on some discs, is steady on all selections. Moody is the only soloist but the group sound overall, is impressive. ~ Derek Ansell (Jazz Journal, March 2015)

Cookin’ the Blues” finds Moody with a medium sized group which includes trumpeter Howard McGhee unfortunately none of the group get to solo except pianist Sonny Donaldson. Moody plays alto, tenor and flute, on alto he displays his debt to Parker but on tenor and flute he is more his own man. This is a live recording and may have been exciting in person but this does not transfer to the recording. Apart from “It Might As Well Be Spring” all the compositions are originals and includes to vocals by Eddie Jefferson in his vocalese style. ~ Roy Booth, Jazz Views.

Argo/Cadet Records, LPS-756, 1965
Recorded at the Jazz Workshop, San Francisco, 1961

Musicians:
James Moody - Tenor & Alto Saxophones, Flute (#A4)
Howard McGhee - Trumpet
Bernard McKinney - Trombone
Musa Kalleem - Baritone Saxophone
Sonny Donaldson - Piano
Steve Davis - Bass
Arnold Enlow - Drums
Eddie Jefferson - Vocals (#B2,B3)

Track Listing:
A1. The Jazz Twist {James Moody} (6:36)
A2. One For Nat {Gene Kee} (5:53)
A3. Bunny Boo {James Moody} (5:32)
A4. Moody Flooty {James Moody} (4:16)
B1. It Might As Well Be Spring {Richard Rodgers, Oscar Hammerstein II} (5:55)
B2. Disappointed {Eddie Jefferson} (2:10)
B3. Sister Sadie {Horace Silver} (2:50)
B4. Little Buck {James Moody} (2:12)
B5. Home Fries {Gene Kee} (6:17)

Credits:
Supervisor, Producer - Jack Tracy
Sound Engineer - Paul Gayten
Photography [Cover] - Don S. Bronstein
Design - Michael Reid Design
Liner Notes - Ira Gitler

Saturday, November 21, 2015

New York Jazz Quartet - Surge

The 70's is in so many ways, the "runt" of the chronological jazz litter.  There were of course, many cringe worthy aspects - perhaps enough to call a majority.  But in spite of this, there were alot of amazing things happening too.  Those incredible musical happenings tend to get overlooked, as many fans write off this decade.

When thinking about "the tradition" in 70's jazz, we can put things into two categories:  solid, straight ahead keepers of the flame;  and progressive innovators.  I think the New York Jazz Quartet fall into the latter.  They were certainly rooted in the familiar, but when you look at the entire picture, you get composition, arrangement and masterful playing.

All four members contribute compositions, with Wess & Hanna being more dominant.  The melodies and arrangements are as beautiful as they are advanced.  The only tune that reflects the sound of the times, would be the Hanna penned "Big Bad Henry".  That said, it's aged perfectly and is more than listenable today.  The group also share in the solo spotlight quite equally, showing that the lesser known Pratt is up to the task.

The entire quartet express themselves wonderfully throughout Surge, but I really feel that Mraz takes the crown.  His playing is quite frankly , beyond words.  Take his solo during Big Bad Henry for example.  His speed and accuracy are incredible, and yet this technical bravado never diminishes the feel or soul of his statement.  Mraz's note selection is perfect, and his tone is clear and articulate... to sum it up, his entire performance is masterful.

I also want to note that Wess' flute work on this session, is some of his best.  He definitely pulled it out on the right tunes, and in the right spots.  His sound is so emotive... beautiful.

Anyhow people, this album is definitely a winner!!  Of course, the minty vinyl has been captured in 24/48 wav and transferred to 24/48 FLAC for your convenience.  Enjoy!!!

___________________________________________________________

Inner City Records ‎– IC 3011
1977

A1 Surge 5:49
A2 Placitude 7:05
A3 Big Bad Henry 9:52
B1 87th Street 6:17
B2 What, Does It Matter? 4:48
B3 Tee Piece 7:10

Bass – George Mraz
Drums – Richard Pratt
Flute, Saxophone – Frank Wess
Piano – Roland Hanna

Sunday, November 15, 2015

James Moody - Hey! It's James Moody (1959) [vinyl>flac]

It remains remarkable, how fresh James Moody sounds, even when some of the arrangements show their age. Indeed, some of these tracks have passed into jazz lore, including "Last Train from Overbrook (the salute to Moody's return to the scene) with Eddie Jefferson's ebullient vocal. The leader excels on tenor, but his full-bodied, soulful and technically sure flute playing deserves special mention. He shines on a languid "Indian Summer that is far too short, and "Trouble In De Lowlands finds him appropriately mournful. "Tali is a bit too precious, but Moody almost salvages it with a far-too-short swinging segment. On tenor, Moody soulfully explores "Don't Blame Me, taking his time to build a compelling solo. On "Woody'N You (aka "Algo Bueno), Dizzy Gillespie's tribute to Woody Herman, he soars again on tenor, using fragments of the melody to launch segments of blowing choruses. His tenor playing, individualised with gruff, acidic traces, is always compelling. This release is a snapshot of James Moody's output from the late '50s. Here and there it can sound a bit dated, however Moody's warm, passionate, focused voice, however, stands out. Whether in the studio or in the band box, he was then - and remains now - exciting, soulful and expressive. ~ extracts from review by Andrew Rowan, allaboutjazz.com

Argo Records, LP-666, 1960
Recorded 29th December, 1959 at Ter-Mar Recording Studios, Chicago, Illinois

Musicians:
James Moody - Tenor Saxophone (#A1,A3-A5,B2,B3), Flute (#A2,B1,B4,B5)
Johnny Gray - Guitar
Eldee Young - Bass
Clarence Johnson - Drums
Eddie Jefferson - Vocals (#A4,B4)

Track Listing:
A1. Stella By Starlight {Victor Young, Ned Washington} (3:05)
A2. Indian Summer {Al Dubin, Victor Herbert} (2:36)
A3. Don't Blame Me {Jimmy McHugh, Dorothy Fields} (4:28)
A4. Last Train From Overbrook {James Moody} (2:32)
A5. Please Say Yes {Tom McIntosh} (3:58)
B1. Blue Jubilee {Tom McIntosh} (6:15)
B2. Woody'N You {Dizzy Gillespie} (3:12)
B3. Trouble In De Lowlands {James Moody} (2:23)
B4. Summertime {George Gershwin} (2:29)
B5. Tali {Tom McIntosh} (2:48)

Credits:
Supervision - Jack Tracy
Recording Engineer - Ron Malo
Cover Photo - Chuck Stewart
Cover Design - Don Bronstein
Liner Notes - Leonard Feather

Friday, November 13, 2015

Hampton Hawes - Universe (1972) [vinyl]

Review by Scott Yanow AMG:
In 1972, Hampton Hawes began to fully explore electric keyboards. Although his longtime fans were not happy with the temporary move, Hawes' music at the time was actually more creative than it was often rated... Hawes deserves credit for his willingness to take chances, and even if this album (consisting of seven moody originals) is not as significant as most of his boppish trio dates from the 1950s, it deserves to be reevaluated, for it is better than often thought.

Little Bird
Drums For Peace / Love Is Better
Josie Black
Don't Pass Me By
Universe
J.B's Mind

Oscar Brashear (trumpet) Harold Land (tenor saxophone) Hampton Hawes (piano, electric piano, organ, synthesizer)
Arthur Adams (guitar) Chuck Rainey (electric bass) Ndugu (drums)
Los Angeles, CA, June, 1972

NB The track times on the sleeve for side one are clearly wrong!