Thursday, February 16, 2017

Jay Berliner - 1972 - Bananas Are Not Created Equal

Jay Berliner
1972 
Bananas Are Not Created Equal




01. Getting The Message 3:59
02. I Just Want To Be There 3:50
03. Papa Was A Rolling Stone 5:28
04. Hey Western Union Man 3:05
05. Stormy 4:14
06. Use Me 3:04
07. We've Come Too Far To End It Now 4:35
08. Stickball 4:30
09. I'm Still In Love With You 4:14

Bass – Gordon Edwards
Congas – Ray Barretto
Drums – Jimmy Johnson
Guitar – Cornell Dupree, Jay Berliner
Mallets, Tambourine – Joe Venuto
Piano – Paul Griffin




Jay Berliner (born May 24, 1940 in Brooklyn, New York) is a versatile guitarist and multi-instrumentalist. He appears on several albums by Charles Mingus and on the 1968 classic "Astral Weeks" by Van Morrison.
For almost 50 years, Jay has been an active studio musician, logging more than 13,000 recording sessions for records, commercials, motion pictures, etc.

Berliner was the guitarist for Harry Belafonte in the early to mid-1960s, appearing on many of Belafonte's recordings and playing in venues around the world.

He has also played at the Metropolitan Opera house (the “old” Metropolitan Opera House in midtown Manhattan), where he was house guitarist and mandolinist; toured Japan as a banjo soloist; performances at The White House; and more recently, played onstage at the Metropolitan Opera (in the “new” house at Lincoln Center) with Barbara Cook, Audra McDonald, Josh Groban, and Elaine Strich, recorded live on DRG Records, Inc.

Recordings under his own name include Bananas Are Not Created Equal, Romantic Guitars, Erotic Guitars, three classical albums for Nippon-Columbia, and three classical albums for Spanish Music Center Records. Berliner also can be heard on Romantic Sea of Tranquility under the pseudonym "Chris Valentino."

Berliner began playing as a studio musician in the early 1960s. Since then he has logged more than 13,000 recording sessions for records, commercials, films, etc. He has played on albums by Charles Mingus (including The Black Saint and the Sinner Lady) and Ron Carter, George Benson’s White Rabbit, Stephane Grappeli’s Uptown Dance, Deodato’s Also Sprach Zarathustra, Milt Jackson’s Sunflower, and many other Creed Taylor recordings. Berliner has recorded with numerous singers including Frank Sinatra, Perry Como, Jerry Vale, Astrud Gilberto, Sammy Davis, Jr., Sergio Franchi, Rupert Holmes, Frankie Valli, Debby Boone, Andrea Bocelli, Russell Watson, Harry Connick, Jr., Bernadette Peters, Kristin Chenoweth, Blossom Dearie, and LaTanya Hall.

He played on Van Morrison's 1968 album, Astral Weeks, and on November 7 and 8, 2008 joined with Morrison to play Astral Weeks in its entirety at the Hollywood Bowl in Los Angeles, California. A vinyl LP and CD from these concerts entitled Astral Weeks Live at the Hollywood Bowl were released in February 2009.

Berliner is an original member of Rob Fisher's Coffee Club Orchestra on Garrison Keillor’s American Radio Company and later at City Center’s ENCORES series. Berliner is also an original member of the Guys All-Star Shoe Band on Garrison Keillor’s A Prairie Home Companion. Berliner has performed in concert with William Warfield and Earl Wild at the old Lewisohn Stadium, at Town Hall with Andrea Velis, and with Charles Bressler, playing the American premier performance of songs for tenor and guitar by William Walton and Benjamin Britten.

"Bananas Are Not Created Equal"  released in 1972 by Mainstream Records ?(MRL-384) and contains some excellent early 70's jazz funk instrumentals .From this album i chose "Getting The Message" and "Papa Was A Rolling Stone".

Jay Berliner (born May 24, 1940 in Brooklyn, New York) is an American guitarist and multi-instrumentalist.
He is a prolific studio guitarist with a very long and prestigious resume, including stints with Charles Mingus and Van Morrison (Astral Weeks).

He has played on albums by Charles Mingus (including The Black Saint and the Sinner Lady) and Ron Carter, George Benson’s White Rabbit, Stephane Grappeli’s Uptown Dance, Deodato’s Also Sprach Zarathustra, Milt Jackson’s Sunflower, and many other Creed Taylor recordings. Berliner has recorded with numerous singers including Frank Sinatra, Perry Como, Jerry Vale, Astrud Gilberto, Sammy Davis, Jr., Sergio Franchi, Rupert Holmes, Frankie Valli, Debby Boone, Andrea Bocelli, Russell Watson, Harry Connick, Jr., Bernadette Peters, Kristin Chenoweth, Luis Alberto Spinetta, Blossom Dearie, and LaTanya Hall.

'Bananas are not created equal' is recorded under his own name. Recorded in 1972, under the aegis of arranger Wade Marcus (who also wrote this tune) ‘Bananas…’ featured Berliner and a group of studio heavies working it out on a number of contemporary covers (Temptations, Al Green, Bill Withers) and a couple of excellent, funky originals. ‘Stickball’ opens with Ray Barretto’s congas and Berliner’s guitar, then joined by Cornell Dupree on electric sitar and Paul Griffin on clavinet. The tune has a thick, jazz-funk groove, with some hot soloing (naturally) by Berliner.
The rest of the album is definitely worth checking out...

Horace Parlan Quintet - 1961 - On The Spur Of The Moment

Horace Parlan Quintet
1961
On The Spur Of The Moment




01. On The Spur Of The Moment
02. Skoo Chee
03. And That I Am So In Love
04. Al's Tune
05. Ray C.
06. Pyramid

Bass – George Tucker
Drums – Al Harewood
Piano – Horace Parlan
Tenor Saxophone – Stanley Turrentine
Trumpet – Tommy Turrentine

Recorded on March 18, 1961.




Again working with his longtime rhythm section of George Tucker (bass) and Al Harewood (drums), Horace Parlan manages to On the Spur of the Moment make distinctive by emphasizing the rhythmic side of his hard bop. Tenor saxophonist Stanley Turrentine and trumpeter Tommy Turrentine help give the quintet a bluesy edge, which the band exploits to an appealing effect throughout these six, mostly original, compositions. There are a few ballads, and even when things are at their hottest, Parlan's understated playing is a cue for the group to keep it tasteful, but that relaxed atmosphere is part of the reason why On the Spur of the Moment is another winning effort from the underrated pianist.

Horace Parlan Quintet - 1960 - Speakin' My Piece

Horace Parlan Quintet 
1960 
Speakin' My Piece




01. Wadin'
02. Up In Cynthia's Room
03. Borderline
04. Rastus
05. Oh So Blue
06. Speakin' My Piece

Bass – George Tucker
Drums – Al Harewood
Piano – Horace Parlan
Tenor Saxophone – Stanley Turrentine
Trumpet – Tommy Turrentine

Recorded on July 14, 1960.



Horace Parlan had a gift for relaxed, swinging hard bop which placed his piano in a central, yet unassuming role. Speakin' My Piece is one of the first albums to find Parlan getting all the ingridients right, from his own subtle playing to soliciting fine contributions of his backing band. Stanley Turrentine, in fact, turns out to be an excellent complement to Parlan, playing in a similarly tasteful style. Five of the six numbers are band originals, and each number is quite similar -- bluesy, gently swinging hard bop. No one pushes too hard on Speakin' My Piece, preferring to create an intimate atmosphere with milder numbers and performances. Such an approach gives each muscian -- Parlan, Turrentine, bassist George Tucker, drummer Al Harewood -- a chance to shine with lyrical, melodic solos and/or sympathetic support, resulting in a charmingly low-key session.

Horace Parlan - 1986 - Happy Frame Of Mind

Horace Parlan
1986 
Happy Frame Of Mind




01. Home Is Africa
02. A Tune For Richard
03. Back From The Gig
04. Dexi
05. Kucheza Blues
06. Happy Frame Of Mind

Bass – Butch Warren
Drums – Billy Higgins
Guitar – Grant Green
Piano – Horace Parlan
Tenor Saxophone – Booker Ervin
Trumpet – Johnny Coles

Recorded on February 15, 1963.



This material was previously released in 1976 as part of 'Back To The Gig' (BN-LA488-H2), a double album under Booker Irvin's name. It is now issued here, for the first time, with the Cover Art and Catalogue Number, as originally intended by Blue Note in 1963.



Happy Frame of Mind finds Horace Parlan breaking away from the soul-inflected hard bop that had become his trademark, moving his music into more adventurous, post-bop territory. Aided by a first-rate quintet -- trumpeter Johnny Coles, tenor saxophonist Booker Ervin, guitarist Grant Green, bassist Butch Warren, drummer Billy Higgins -- Parlan produces a provocative set that is grounded in soul and blues but stretches out into challenging improvisations. None of the musicians completely embrace the avant-garde, but there are shifting tonal textures and unpredictable turns in the solos which have been previously unheard in Parlan's music. Perhaps that's the reason why Happy Frame of Mind sat unissued in Blue Note's vaults until 1976, when it was released as part of a double-record Booker Ervin set, but the fact of the matter is, it's one of Parlan's most successful efforts, finding the perfect middle ground between accessible, entertaining jazz and more adventurous music.

Horace Parlan - 1963 - Up & Down

Horace Parlan 
1963 
Up & Down



01. The Book's Beat
02. Up And Down
03. Fugee
04. The Other Part Of Town
05. Lonely One
06. Light Blue

Bass – George Tucker
Drums – Al Harewood
Guitar – Grant Green
Piano – Horace Parlan
Tenor Saxophone – Booker Ervin

Recorded on June 18, 1961.



By adding guitarist Grant Green and tenor saxophonist Booker Ervin to his standard rhythm section of bassist George Tucker and drummer Al Harewood, pianist Horace Parlan opens up his sound and brings it closer to soul-jazz on Up and Down. Green's clean, graceful style meshes well with Parlan's relaxed technique, while Ervin's robust tone and virile attack provides a good contrast to the laid-back groove the rhythm section lays down. Stylistically, the music is balanced between hard bop and soul-jazz, which are tied together by the bluesy tint in the three soloists' playing. All of the six original compositions give the band room to stretch out and to not only show off their chops, but move the music somewhat away from generic conventions and find new territory. In other words, it finds Parlan at a peak, and in many ways, coming into his own as a pianist and a leader.

In a lot of ways, this is an archetypal Blue Note album. Thumping, funky hard-bop, with masterful sound thanks to RVG. But one close listen shows the band's phenomenal singularity.

Booker Ervin, who opens the record, is a wildly special player. A Texas tenor with that bluesy, thick sound you'd expect; but what sets him apart is his edge, his willingness to get weird and draw outside the lines - something that either comes from, or is a rule for, playing with Mingus for an extended period of time.

The same can be said of Horace Parlan, who's physical limitations gave him a truly unique voice; soulful and bluesy but adventurous. You can see why they worked well together.

Add to that the master Grant Green - a guy who, from a technical standpoint, shouldn't have been as influential as he was, but his ability to stand out with a solo like literally no one else in jazz, made him a legend. He had a sixth sense for going where the song took him naturally with single notes, using space like Miles or Ahmad Jamal. He wasn't the player that Wes was, or even Jim Hall or Kenny Burrell. But his solos are more memorable because they don't blow past in a whirlwind; they hover and sing.

All that said, this album is fantastic and without a weak song in the set. Highly recommended.


Horace Parlan - 1961 - Headin'South

Horace Parlan 
1961
Headin'South


01. Headin' South
02. The Song Is Ended
03. Summertime
04. Low Down
05. Congalegre
06. Prelude To A Kiss
07. Jim Loves Sue
08. My Mother's Eyes

Bass – George Tucker
Congas – Ray Barretto
Drums – Al Harewood
Piano – Horace Parlan

Recorded on December 6, 1960.




On the surface, Headin' South is another set of bluesy soul-jazz, but it actually finds the Horace Parlan trio stretching out a little. Adding conga player Ray Barretto to his usual rhythm section of bassist George Tucker and drummer Al Harewood, Parlan decides to take chances with his standard-heavy repertoire. "Summertime" features some evocative bowing from Tucker, and the solo sections on "The Song Is Ended," "Prelude to a Kiss," and "My Mother's Eyes" offer probing, intriguing tonal textures that make the selection of Ahmad Jamal's "Jim Loves Sue" understandable. Barretto's "Congalegre" is a fun, Latin-inflected number, and Parlan's "Headin' South" is a strong, swinging blues, but the slow blues "Low Down" is nearly undone by h

is incessant circular arpeggio, which lasts for over a minute. Still, that's not nearly enough to sink the record, which is another understated but solid effort from Horace Parlan.

Horace Parlan - 1960 - Us Three

Horace Parlan 
1960
Us Three



01. Us Three
02. I Want To Be Loved
03. Come Rain Or Come Shine
04. Wadin'
05. The Lady Is A Tramp
06. Walkin'
07. Return Engagement

Bass – George Tucker
Drums – Al Harewood
Piano – Horace Parlan

Recorded on April 20, 1960.



On this recording made in 1960 during his tenure with Lou Donaldson, pianist Horace Parlan is situated nicely alongside bassist George Tucker and drummer Al Harewood. The trio had its own gig on Sundays at Minton's in Harlem, and had established a repertoire and reputation for being able to lay down both hard bop and soul-jazz stylings with equal verve. (And yeah, that jazz/hip-hop group from the 1990s was named after this disc.) The proceedings here are straight-ahead with some cool soul-jazz touches. Parlan's "Wadin'" moves the off-minor key of "Wade in the Water" and funkifies the rhythm, paraphrasing and improvising as the rhythm section struts it out. On the title track, there is a gorgeous lilt in his playing that corresponds to a behind-the-beat walk by Tucker that makes Harewood slip and shimmy constantly on the cymbals with his brushes. There and on "I Want to Be Loved" as well as "Return Engagement" (another Parlan original), something else starts to creep into his playing: the spacy, spare feel of Ahmad Jamal, who Parlan cited as a contemporary influence. The economy of touch, which stands in stark contrast to the hard bop he played with Donaldson and the energetic music he played with Mingus, is in some ways more complex harmonically, and more emotionally satisfying. This is a fine effort from an underappreciated trio.

Horace Parlan - 1960 - Movin' & Groovin'

Horace Parlan
1960
Movin' & Groovin'


01. C Jam Blues
02. On Green Dolphin Street
03. Up In Cynthia's Room
04. Lady Bird
05. Bag's Groove
06. Stella By Starlight
07. There Is No Greater Love
08. It Could Happen To You

Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey

Bass – Sam Jones
Piano – Horace Parla

Recorded on February 29, 1960.




Horace Parlan overcame physical disability and thrived as a pianist despite it. His right hand was partially disabled by polio in his childhood, but Parlan made frenetic, highly rhythmic right hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan has always cited Ahmad Jamal and Bud Powell as prime influences. He began playing in R&B bands during the '50s, joining Charles Mingus' group from 1957 to 1959 following a move from Pittsburgh to New York. Mingus aided his career enormously, both through his recordings and his influence. Parlan played with Booker Ervin in 1960 and 1961, then in the Eddie "Lockjaw" Davis-Johnny Griffin quintet in 1962. Parlan played with Rahsaan Roland Kirk from 1963 to 1966, and had a strong series of Blue Note recordings in the '60s. He left America for Copenhagen in 1973, and gained international recognition for some stunning albums on Steeplechase, including a pair of superb duet sessions with Archie Shepp. He also recorded with Dexter Gordon, Red Mitchell, and in the '80s Frank Foster and Michal Urbaniak.

Horace Parlan's debut album for Blue Note, Movin' and Groovin', is a thoroughly impressive affair, establishing Parlan as a distinctive hard bop stylist. Working with bassist Sam Jones and drummer Al Harewood, Parlan steals the show, playing hard-driving, bluesy bop and lyrical ballads. If it weren't for the inventive chord voicings and percussive right-hand attack, it would be impossible to tell that he was missing two fingers on his right hand, since his playing is remarkably agile and fluid. Parlan sounds vital on swinging blues, slow ballads, and straight-ahead bop, and Jones and Harewood provide appropriately empathetic support on this collection of standards, blues, bop, jazz, and originals. Everything swings, no matter the tempo, and the end result is a fine debut from a distinctive pianist.

Horace Parlan & Archie Shepp - 1977 - Goin' Home

Horace Parlan & Archie Shepp 
1977 
Goin' Home




01. Goin' Home 6:08
02. Nobody Knows The Troubles I've Seen 4:40
03. Go Down Moses 4:18
04. Steal Away To Jesus 6:14
05. Deep River 4:49
06. My Lord What A Morning 4:38
07. Amazing Grace 4:20
08. Sometimes I Feel Like A Motherless Child 5:19
09. Swing Low, Sweet Chariot 2:42
10. Come Sunday (Duke Ellington) - 7:43

Archie Shepp: Arranger, Saxophone (Soprano), Saxophone (Tenor)
Horace Parlan: Piano

Recorded April 25, 1977 at Sweet Silence Studios, Copenhagen.




Archie Shepp's two duet albums with pianist Horace Parlan on SteepleChase (the other one is 1980's Trouble in Mind) both find the innovative avant-garde tenor in relaxed and melodic form, respectfully interpreting music of the 1920s and before. Goin' Home features Shepp (who doubles on soprano) and Parlan playing tasteful versions of nine ancient black folk melodies including "Swing Low, Sweet Chariot," "Nobody Knows the Troubles I've Seen" and "Deep River." Those listeners only familiar with Shepp's earlier Fire Music will find these compelling performances to be a revelation. ~ Scott Yanow, All Music Guide

Shirley Scott - 1972 - Lean On Me

Shirley Scott 
1972 
Lean On Me



01. Lean On Me
02. Royal Love
03. Smile
04. Funky Blues
05. By The Time I Get To Phoenix
06. How Insensitive
07. You Can't Mess Around With Love
08. Carla's Dance

Alto Saxophone, Flute – J. Daniel Turner
Drums – Idris Muhammad
Guitar – Roland Prince
Organ – Shirley Scott
Tenor Saxophone – George Coleman



An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist -- in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia.

Roy Haynes - 1973 - Senyah

Roy Haynes 
1973 
Senyah




01. Sillie Willie 7:48
02. Little Titan 7:22
03. Senyah 5:30
04. Full Moon 6:14
05. Brujeria Con Salsa 4:01

Bass – Don Pate
Congas [Conga Drums] – Lawrence Killian
Drums, Timpani – Roy Haynes
Guitar – Roland Prince
Piano – Carl Schroeder
Tenor Saxophone – George Adams
Trumpet – Marvin Peterson



The energetic material here, features the great Roy Haynes leading a killer funky date with Marvin "Hannibal" Peterson on trumpet, George Adams on tenor saxophone, bassist Don Pate, congquero Lawrence Killian pianist Carl Schroeder and guitarist Roland Price. Adams wrote two stellar numbers on the set in "Silly Willie" and Full Moon, while Haynes and Peterson contributed one each. This set is a burner, featruing Haynes in an entirely new light.

Johnny Hartman - 1972 - Today

Johnny Hartman 
1972
Today




01. By The Time I Get To Phoenix 4:00
02. Didn´t We 4:25
03. Games People Play 4:27
04. Betcha By Golly Wow 4:10
05. Summer Wind 3:20
06. Help Me Make It Through The Night 4:05
07. Folks Who Live On THe Hill 5:45
08. We´ve Only Just Begun 5:00
09. I´ve Got To Be Me 4:40

Bass – Earl May
Drums – Billy Higgens
Guitar – Roland Prince
Piano – Herman Foster
Saxophone – George Coleman
Vocals – Johnny Hartman



Born in Louisiana but raised in Chicago, Hartman began singing and playing the piano by the age of eight. He attended DuSable High School studying music under Walter Dyett before receiving a scholarship to Chicago Musical College. He sang as an Army private during World War II, but his first professional work came in September 1946 when he won a singing contest awarding him a one-week engagement with Earl Hines. Seeing potential in the singer, Hines hired him for the next year. Although Hartman’s first recordings were with Marl Young in February 1947, it was the collaboration with Hines that provided notable exposure. After the Hines orchestra broke up, Dizzy Gillespie invited Hartman to join his big band in 1948 during an eight-week tour in California. Dropped from the band about one year later, Hartman worked for a short time with pianist Erroll Garner before going solo by early 1950.

After recording several singles with different orchestras, Hartman finally released his first solo album, Songs from the Heart, with a quintet for Bethlehem Records in 1955. Releasing two more albums with small labels, neither very successful, Hartman got a career-altering offer in 1963 to record with John Coltrane. The saxophonist likely remembered Hartman from a bill they shared at the Apollo Theater in 1950 and later said, “I just felt something about him, I don’t know what it was. I like his sound, I thought there was something there I had to hear so I looked him up and did that album.” Featuring all ballads, John Coltrane and Johnny Hartman is widely considered a classic. This led to recording four more albums with Impulse! and parent label ABC, all produced by Bob Thiele.

With the 1970s being difficult for singers clinging to the pre-rock American songbook, Hartman turned to playing cocktail lounges in New York City and Chicago. Recording again with small labels such as Perception and Musicor, Hartman produced music of mixed quality as he attempted to be viewed as a more versatile vocalist. Referring to his approach to interpreting a song, Hartman said, "Well, to me a lyric is a story, almost like talking, telling somebody a story, try to make it believable.” Returning to the jazz combo format of his earlier albums, Hartman recorded Once in Every Life for Bee Hive, earning him a 1981 Grammy nomination for Best Male Jazz Vocalist. This was quickly followed up by his last album of newly recorded material titled This One's for Tedi as a tribute to his wife Theodora.

Hartman recorded new tracks for Grenadilla Records on their jazz label, Grapevine. These were dance tracks of "Beyond the Sea" and "Caravan," with the latter also having an extended six-minute version.

In the early 1980s Hartman gave several performances for jazz festivals, television, and radio before succumbing to lung cancer at the age of sixty. His reputation grew considerably in 1995 when the soundtrack to Clint Eastwood’s Bridges of Madison County (1995) featured four songs from the then out-of-print Once in Every Life album.

A biography, The Last Balladeer: The Johnny Hartman Story by Dr. Gregg Akkerman, was published in June 2012 by Scarecrow Press as part of their "Studies in Jazz" series.


James Moody - 1976 - Timeless Aura

James Moody 
1976 -
Timeless Aura




01. A Statement 6:20
02. Old King Tut 6:57
03. Stefanie 4:42
04. Funky Jazz Walk 5:15
05. A Funky Aura 5:27
06. Keep It Greasy 5:35
07. Pot Licka 11:19

Bass – Bob Cranshaw
Drums – Eddie Gladden
Guitar – Roland Prince
Percussion – Emanuel Rahim
Piano – Kenny Barron
Soprano Saxophone , Alto Saxophone , Tenor Saxophone – James Moody
Trumpet – Joe Newman




James Moody was born in Savannah, Georgia. Growing up in New Jersey, he was attracted to the saxophone after hearing George Holmes Tate, Don Byas, and various saxophonists who played with Count Basie, and later also took up the flute. He joined the US Army Air Corps in 1943 and played in the "negro band" on the segregated base. Following his discharge from the military in 1946 he played bebop with Dizzy Gillespie for two years. Moody later played with Gillespie in 1964, where his colleagues in the Gillespie group, pianist Kenny Barron and guitarist Les Spann, would be musical collaborators in the coming decades.

In 1948 he recorded his first session for Blue Note Records, the first in a long recording career playing both saxophone and flute. That same year he relocated to Europe, where he stayed for three years, saying he had been "scarred by racism" in the U.S. His European work, including the first recording of "Moody's Mood for Love", which became a hit in 1952, saw him add the alto saxophone to his repertoire and helped to establish him as recording artist in his own right, and formed part of the growth of European jazz. Then in 1952, he returned to the U.S. to a recording career with Prestige Records and others, playing flute and saxophone in bands that included musicians such as Pee Wee Moore and others. In the 1960s, he rejoined Dizzy Gillespie. He later worked also with Mike Longo.

In a 1998 interview with Bob Bernotas, Moody stated that he believed jazz has definite spiritual resonance.

The James Moody Quartet (with pianist Renee Rosnes, bassist Todd Coolman, and drummer Adam Nussbaum) was Moody's vehicle later in his career. Moody played regularly with Dizzy Gillespie Alumni All-Stars and the Dizzy Gillespie Alumni All-Stars Big Band and also often collaborated with former Gillespie alumnus, the trumpeter-composer-conductor Jon Faddis; Faddis and Moody worked in 2007 with the WDR Big Band in Cologne, Germany under the direction of Michael Abene. And along with Faddis, toured in 1986 with the Philip Morris Superband hosting artists like Hammond organist Jimmy Smith, Kenny Burrell, Grady Tate and Barbara Morrison. Included in this line-up were Niels-Henning Orsted Pedersen, Jimmy Heath, Kenny Washington, Slide Hampton and Monty Alexander on a four country, fourteen city one month tour of eighteen concerts notably Australia, Canada, Japan and the Philippines, starting on September 3, 1986 with its first concert in Perth, Australia. The Philip Morris Superband concept started a year previous in 1985.

On November 3, 2009, Moody appeared live in an interview conducted in both Italian and English (Moody spoke Italian) with the jazz aficionado, Nick "The Nightfly", on Radio Monte Carlo's late-night "Monte Carlo Nights" program. The chat featured an amiable Moody talking about his career.

Moody was married to Linda Moody; they resided in San Diego. He was an active member of the Bahá'í Faith.[4] In 2005, the Moodys established the Moody Scholarship Fund at the Conservatory of Music at Purchase College-State University of New York (SUNY Purchase); the first Moody Scholars, named in 2007, are saxophonist Andrew Gould and trumpeter Maxilmilien Darche. Moody was an NEA Jazz Master and often participated in educational programming and outreach, including with the International Association for Jazz Education, or IAJE.

On November 2, 2010, Moody's wife announced on his behalf that he had pancreatic cancer, and had chosen not to have it treated aggressively. Moody died in San Diego, on December 9, 2010, of complications from pancreatic cancer.

He was divorced twice, and is survived by his wife of 21 years, the former Linda Petersen McGowan; three sons, Regan, Danny and Patrick McGowan; a daughter, Michelle Moody Bagdanove; a brother, Louis Watters; four grandchildren; and one great-grandson.

Two months after his death, Moody won the Grammy Award posthumously for Best Jazz Instrumental Album for his album Moody 4B. Named in his honor, the New Jersey Performing Arts Center hosts the James Moody Democracy of Jazz Festival.

James Moody - 1976 - Sun Journey

James Moody
1976
Sun Journey 




01. This Masquerade
02. Moody's Mood For Love
03. Clabber Biscuits
04. Last Train From Overbrook
05. Sun Journey
06. Sun In Pisces

James Moody - Alto, Tenor, Soprano
Clark Terry - Trumpet, Flugelhorn
Randy Brecker - Trumpet
Kenny Barron - Elec Piano
Roland Prince - Guitar
Bob Cranshaw - Bass
Eddie Gladden - Drums
Emanual Rahim - Percussion



 I keep hearing that Vanguard wasn't known for their jazz releases, and I keep finding gems on their label. And this is a gem. From the swining 'This Masquerade' to the soulful Moody classic 'Moody's Mood For Love'. 'Clabber Biscuits' is a soul-funk cut written for George Benson originaly. The swinging 'Last Train From Overbrook' is framed by the driving train intro and outro (too cool)...

Frank Foster - 1976 - Here And Now

Frank Foster 
1976
Here And Now




01. Sweet Mirage 9:21
02. Shunga 4:43
03. Been Here And Gone 8:03
04. Round Table 8:22


Bass – David Lee
Congas – Azzedin Weston
Drums – Freddy Waitts
Flute – Artie Webb
Guitar – Roland Prince
Piano – Harold Mabern
Tenor Saxophone – Frank Foster
Trumpet – Richard Williams



This obscure LP is as notable for some late-period playing by trumpeter Richard Williams as it is for the solos of tenor saxophonist Frank Foster. With flutist Artie Webb, guitarist Roland Prince, pianist Harold Mabern, bassist David Lee, drummer Freddie Waits and percussionist Azzedin Weston completing the group, the music (four forgettable originals by Foster, Billy Mitchell and Hale Smith) has some good improvising and shows the influence that funk and, to a lesser extent, fusion had on the modern mainstream jazz of the 1970s.

Elvin Jones Jazz Machine - 1978 - Remembrance

Elvin Jones Jazz Machine
1978
Remembrance




01. Giraffe 7:54
02. Section 8 4:25
03. Little Lady 6:27
04. Familiar Ground 3:32
05. Kalima 8:30
06. Beatrice 6:41
07. Remembrance 7:07


Bass – Andy McCloud III
Drums – Elvin Jones
Guitar – Roland Prince
Tenor Saxophone, Soprano Saxophone – Michael Stuart, Pat LaBarbera

Recorded February 3, 4 and 5, 1978 at Tonstudio Zuckerfabrik, Stuttgart, Germany



“Elvin is the beat of life itself…When I hear Elvin’s music I hear the future.” So said guitarist Carlos Santana in 2004 when he heard that drummer Elvin Jones had died. The rock star’s comments signal Jones’ importance. Born in Pontiac, Michigan in 1927, Jones’ playing lifted the drum set out of the rhythm section and into the frontline. He could control the pulse of a band while at the same time pepper the music with melodic accents, creating solos that were both strong and sensitive. For his MPS recording in February, 1978, he brought along his “Elvin Jones Jazz Machine” a quintet with the somewhat unusual lineup of two saxophones, guitar, bass, and drums. The band continued to be one of the most popular in jazz on into and through the 1990’s. The youngest of the three Jones brothers, trumpeter Thad and pianist Hank being the other two, Elvin rose to fame as the drummer for the seminal John Coltrane Quartet. For five years Jones played with the saxophone giant, creating music that revolutionized jazz. He left the band after Coltrane added a second drummer and the music took a new direction. For a time Elvin worked with a number of jazz greats, and then formed his own “Jazz Machine”. The German record producer and writer Joachim-Ernst Berendt commented that “There are many drummers today whose hands are faster than their heads. With Elvin, head and hand, body and soul are a single entity.”

This is a little known album by legendary American drummer Elvin Jones and his quintet called Jazz Machine, which included saxophonists Pat LaBarbera and Michael Stuart, guitarist Roland Prince and bassist Andy McCloud III. The album was recorded in Germany for the MPS label and produced by Joachim Berendt. It presents seven tracks, six of which are original compositions by the quintet members (four by LaBarbera and one each by Stuart and McCloud) and one comes from outside the quintet.

The music is modern Jazz, quite straightforward but excellently played by these gifted musicians. The double saxophone front line offers plenty of fine soloing, interchangeably with the guitar solos, and the rhythm section works like clockwork, which is hardly surprising with Jones at the helm.

Overall this is a solid mainstream offering, with excellent original compositions and a good modern Jazz feel, which should make all Jazz listeners happy. LaBarbera is obviously a very gifted composer and saxophonist and his contributions here are truly exemplary. His solos often move into a much more ambitious territory, touching upon Free Jazz.