ELVIN JONES | JAMES MOODY | CLARK TERRY | BUNKY GREEN | ROLAND PRINCE — Summit Meeting (1977-2019) FLAC (image+.cue), lossless

This 1976 session led by Elvin Jones is a lot of fun, especially with the presence of Clark Terry and James Moody; rounding out the band are alto saxophonist Bunky Green, guitarist Roland Prince, pianist Albert Dailey, bassist David Matthews, and percussionist Angel Allende. Terry's matchless flügelhorn is the highlight of his original happy blues "Tee Pee Music." Green, who has devoted much of his career to being a jazz educator, contributed the challenging "Blues for Clark" and also the wild post-bop "Summit Song," the latter featuring a solo that borders on avant-garde. Duke Ellington's "Jones," a swinging blues that the maestro narrated to describe how to be cool as one listened to live jazz, is recast with a funky swagger, with Moody's smoking tenor sax and some fine call and response between the horns and the bass, though Terry steals the show by alternating back and forth between flügelhorn and muted trumpet. This somewhat obscure date is overdue to be reissued on CD. Ken Dryden
Tracklist :
1    Tee Pee Music 8:06
Written-By – Clark Terry
2    Blues For Clark 5:55
Written-By – Bunky Green
3    Moody Magic 6:09
Written-By – Ed Bland
4    Summit Song 10:11
Written-By – Bunky Green
5    Jones 9:59
Written-By – Duke Ellington, Pauline Reddon
Credits :
Alto Saxophone – Bunky Green
Bass, Guest – David Williams
Drums – Elvin Jones
Guitar – Roland Prince
Percussion, Guest – Angel Allende
Piano, Guest – Al Dailey
Tenor Saxophone – James Moody
Trumpet, Flugelhorn – Clark Terry

ROBERTA GAMBARINI — Easy to Love (2006) FLAC (image+.cue), lossless

Roberta Gambarini was a virtual unknown outside of Europe before coming to the United States and dazzling both seasoned jazz musicians and critics alike. Under the wing of Benny Carter for several years prior to his death in 2003, the Italian singer with an expressive, clear, and consistently swinging vocal style has seen her reputation spread widely, culminating in this initial American release. Her delightful take on the standard "Easy to Love" includes a bit of soft scatting in tandem with Chuck Berghofer's bass. Her expressive interpretation of "On the Sunny Side of the Street" finds her scatting to each of the demanding solos from a recorded collaboration by Sonny Stitt, Dizzy Gillespie, and Sonny Rollins, as well as adding some original vocalese to each of the solos. She is just as effective handling Bill Evans' bittersweet ballad "The Two Lonely People" and Billy Strayhorn's overlooked gem "Multi-Colored Blue." Tenor saxophonist James Moody is a special guest on "Lover Man" and the swinging "Centerpiece," on the latter playing in unison with Gambarini and engaging in a friendly, often hilarious scat duet with her as well. With this first-rate 2006 release, Roberta Gambarini makes a strong case for consideration as one of the most impressive jazz vocalists to arrive on the scene over the previous two decades; her attractive voice, impeccable taste, and skills as an arranger make her impossible to resist. Ken Dryden
Tracklist :
1 Easy To Love 4:48
Written-By – Cole Porter
2 Only Trust Your Heart 4:11
Written-By – Benny Carter, S. Cahn
3 Lover Man 5:59
Written-By – Davis, Sherman, Ramirez
4 On The Sunny Side Of The Street 5:39
Written-By – D. Fields, J. McHugh
5 Porgy, I's Your Woman Now / I Loves You, Porgy 7:25
Written-By – Dubose Heyward, G. Gershwin, I. Gershwin
6 Lover Come Back To Me 5:44
Written-By – O. Hammerstein II, S. Romberg
7 The Two Lonely People 6:12
Written-By – Bill Evans, Carol Hall
8 Centerpiece 5:21
Written-By – H. (Sweets) Edison, J. Hendricks
9 Guess I'll Hang My Tears Out To Dry 5:58
Written-By – J. Styne, S. Cahn
10 No More Blues 3:13
Written-By – A. C. Jobim, J. Hendricks
11 Smoke Gets In Your Eyes / All The Things You Are 5:53
Written-By – J. Kern, J. Kern, O. Hammerstein, O. Harbach
12 Too Late Now 5:09
Written-By – A. J. Lerner, B. Lane
- Bonus Tracks -
13 Multi-Colored Blue 6:30
Written-By – B. Strayhorn
14 Monk's Prayer / Looking Back 5:24
Written-By – J. Hendricks, T. Monk
Credits :
Bass – Chuck Berghofer (tracks: 1, 4, 6, 7, 9, 10, 13, 14), John Clayton (tracks: 2, 3, 5, 8, 11)
Drums – Joe LaBarbera (tracks: 4, 6, 7, 9, 10, 13), Willie Jones III (tracks: 1 to 3, 5, 8, 11, 14)
Piano – Gerald Clayton (tracks: 2), Tamir Hendelman (tracks: 1, 3 to 14)
Tenor Saxophone, Vocals – James Moody (tracks: 3, 8)
Vocals – Roberta Gambarini

DIZZY GILLESPIE — The Verve/Philips Dizzy Gillespie Small Group Sessions (2006) RM | 7CD | APE (tracks+.cue), lossless

 Dizzy Gillespie's career soared with the surge of interest in bop, but after the failure of his independent Dee Gee label, his career was in the doldrums. In 1953, Norman Granz added the trumpeter to his successful Jazz at the Philharmonic all-star roster for tours and also signed him to a non-exclusive recording contract, where the producer was very open to most anything Gillespie wished to record. This seven-CD boxed set, a limited edition of 10,000 compiled by Mosaic, draws material from selected studio and live sessions made for Granz between 1954 and 1961, in addition to a number of studio dates made for Philips, all of which featured his working bands of the time.

The Verve tracks are a treasure trove, as a good deal of these performances were not reissued on CD until this compilation, with six selections appearing for the first time in this collection. Aside from some of the early novelty songs like "Hey Pete! Let's Eat More Meat," the calypso-flavored "Money Honey," and the perennial jive number "Swing Low, Sweet Cadillac," which wear out their welcome quickly, the remaining material is very strong. Up and coming musicians in his bands include saxophonists Hank Mobley, Gigi Gryce, and Benny Golson, along with pianists Ray Bryant and Junior Mance. One of the obvious highlights is alto sax great Johnny Hodges' guest appearance on "Squatty Roo," which bolsters Gillespie's playing to its highest level. The addition of the relatively unheralded Leo Wright (who doubles on flute and alto sax) and young pianist Lalo Schifrin for a brief concert at the Museum of Modern Art marks the end of his association with Verve, which was sold by Granz that very same year.

Several of the earliest Philips sessions find Gillespie incorporating Brazilian influences and exploring the music of Antonio Carlos Jobim, Luiz Bonfá, and even one extended work by Schifrin, "Mount Olive." Dizzy Gillespie & the Double Six of Paris features collaborations with a group of French vocalists arranged by Lalo Schifrin, with most of the songs utilizing Bud Powell, Pierre Michelot, and Kenny Clarke, with the trumpeter's regular group of the time on two selections. The Double Six of Paris' leader Michel Perin's vocalese interpretations of Charlie Parker's instrumental solos from Gillespie's well-known records of "Hot House" and "Groovin' High" are outstanding, as are the big-band arrangements recast for small group and voices. The final sessions feature James Moody and Kenny Barron, with Chris White and Rudy Collins. The tracks from Dizzy Goes Hollywood are enjoyable but far too brief, as most of them hover around the three-minute mark. Better are the songs from Original Score from the Cool World, an updated look at music Dizzy composed for the film, with fine arrangements by Tom McIntosh. This collection should be considered essential for any Dizzy Gillespie fan. Ken Dryden
Tracklist + Credits :

DIZZY GILLESPIE + MAX ROACH — Dizzy Gillespie Pleyel Concert 1948 + Max Roach Quintet 1949 (1997) FLAC (tracks+.cue), lossless

Tracklist + Credits :

DIZZY GILLESPIE & THE DOUBLE SIX — Dizzy Gillespie & The Double Six of Paris (1963-1986) APE (image+.cue), lossless

This odd but successful pairing finds the Double Six of Paris singing vocalese in French to a dozen bebop classics associated with Dizzy Gillespie. Gillespie, with pianist Bud Powell and a rhythm section, take solos that uplift this date; two songs feature his quintet (with James Moody on alto). Not for all tastes, but this is a unique and colorful addition to Gillespie's discography. Scott Yanow
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DIZZY GILLESPIE — Swing Low, Sweet Cadillac (1967-1996) RM | Serie Impulse! Master Sessions | FLAC (tracks+.cue), lossless

 A strangely popular album for Dizzy Gillespie, Swing Low, Sweet Cadillac represents a period in his career where he was adapting to the times, keeping his goof factor on board, and individually playing as well as he ever had. This club date, recorded over two days circa May of 1967 from The Memory Lane in Los Angeles, has Gillespie with soon to be longtime partners James Moody and Mike Longo, joking and jiving with their audience, presenting a relatively short program of modified pop tunes and one of the trumpeter's most revered compositions. Drummer Otis "Candy" Finch is more than up to the task, but electric bass guitarist Frank Schifano is the weak link, playing basic lines, or unfortunately out of tune. Longo moves from acoustic piano and Fender Rhodes, while Moody's tenor or alto sax and flute are as distinctive as ever. Gillespie's voice, inspired by Eddie Jefferson or perhaps Billy Eckstine, was never meant for singing, but is delightful in his attempt. "Kush" is the track that, over nearly 16 minutes, starts with Dizzy's preachings about Mother Africa and Moody's wavering flute, but Schifano's insistently off-key ostinato mars what is otherwise Gillespie's bright and fluid trumpet sparring with Moody's alto in louder, then softened dynamics and Longo's dainty piano chords. The band modifies Jorge Ben's "Mas Que Nada," made popular by Sergio Mendes & Brasil '66, into a boppish swinging and swaying tune with Latin inferences. The title track, Gillespie's singularly unique and famous adaptation of the gospel song "Swing Low, Sweet Chariot" has he and Moody chatting back and forth in campy ghetto and Afro-Cuban vocal antics gleaned from Chano Pozo, degenerating into nothing, then a modest vocal line. While somewhat disingenuous, Gillespie's vocal attempt at being a romantic troubadour during "Something in Your Smile" cannot be taken seriously, but is somehow quaint and endearing. This is not an essential listing in the vast discography of such a great jazz artist, but remains a curiosity in his collection, especially considering the two-day time frame where much more music could have been considered to be issued. It is not to be completely ignored, but less worthy than many of his other seminal groundbreaking recordings. Michael G. Nastos   Tracklist + Credits :

DIZZY GILLESPIE — The Cool World (Original Score) (1964-2008) RM | Serie Verve Originals | FLAC (tracks+.cue), lossless

Finally available again after a 30-plus year absence from American shelves is the soundtrack to Shirley Clarke's gritty but brilliant 1964 film, Cool World, about young people growing up in Harlem. The score was written and arranged by pianist Mal Waldron but was performed and recorded by Dizzy Gillespie's quintet of the time. This set is one of Diz's best records of the 1960s (which is saying something), and one of the best jazz film scores period. Diz's band at the time included James Moody on tenor and flute, a young Kenny Barron on piano, bassist Chris White, and Rudy Collins on drums. The 11 cues that range between two and five minutes are deeply rooted in the language of hard bop and blues with some excellent, if brief, modal touches by Waldron. The opening theme, the set's longest cut, sets out all the tropes the quintet will visit over and again; lean, tough, expressive blues. Barron's piano sets out a fast, hard swinging groove that sets a pace for the cut time, skittering snare, and frenetic bassline; they urge the two horn players to wail the head and they do. The three solos are as intense and popping as anything on Blue Note at the time, and offer a portal into the rest of the set. The blues articulation of every cue here is on purpose because, if anything, Cool World is a film drenched in them. Waldron's sense of economy in picking both impressionistic and expressionist avenues for blues to speak through jazz in an inspired quintet like this is remarkable -- the temptation would be to excess at every turn, especially given Waldron's gift for sophisticated harmonies and spacy lyrical concerns. There is little that is subtle about this music, but there is nothing overblown about it either. Check the happy-go-lucky flow of "Enter Priest," which signals the arrival onscreen of Duke's (main character) mentor: though he is an underworld figure and a gang leader, his outward appearance to Duke, and his first impression of him, is one of freedom and admiration. The free-flowing cut-time rim shot from Collins and the breezy, open horn section underscores this; Duke's eyes are wide and happy because he thinks he's found a way out of his predicament. On "Duke's Awakening," Waldron deviates -- momentarily -- from the blues/hard bop lexicon. He uses a minor-key modal theme in the intro before unfolding a slow blues. Waldron follows this with a stunning hard bebop cue called "Duke on the Run," that echoes back to the '40s in its unrelenting action and pace -- though Moody's solo is a deeply soulful one. There is also the wonderfully lilting "Coney Island," (where the main character escorts his Bonnie, his love interest, to the seashore, it's her first time seeing the ocean despite having grown up in Harlem). The open octave spill between saxophone and muted trumpeter are the character's voice, and the drums and bassline become the sea and sand -- the only place the pair is free is on the shore. Moody solos on flute to outline just how different this moment is than either character has known before. Ultimately, the soundtrack to Cool World is an enormous success artistically, standing head and shoulders over virtually every other such effort of the period, and a welcome addition to the Gillespie catalog, offering a very keen and muscular view of his 1964 band. Previously available only as a very expensive import, this disc is a must for anyone interested in '60s Gillespie and in hard bop jazz in general.
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Tracklist + Credits :

DIZZY GILLESPIE – Something Old, Something New (1963) lp | 24bits-96Hz | FLAC (tracks), lossless

Reissued on CD in 1998, this was one of Dizzy Gillespie's finest sessions of the 1960s. His quintet (which includes James Moody on tenor, flute and alto, pianist Kenny Barron, bassist Chris White and drummer Rudy Collins) sounds quite inspired. The "Something Old" portion of the set is the main reason to acquire it, since it consists of rapid versions of "Bebop" and "Dizzy Atmosphere," a memorable rendition of "Good Bait" and a definitive medley of "I Can't Get Started" and "'Round Midnight." The "New" part of the release consists of four then-recent pieces (three by Tom McIntosh), best known of which is "Cup Bearers." The CD reissue adds a brief "Early Mornin' Blues" to the program. Highly recommended. Scott Yanow
Tracklist :
 1 Bebop 6:17
Dizzy Gillespie
2 Good Bait 3:03
Count Basie / Tadd Dameron
 3 Medley: I Can't Get Started/Round Midnight 6:23
Vernon Duke / Ira Gershwin / Thelonious Monk / Cootie Williams
 4 Dizzy Atmosphere 6:12
Dizzy Gillespie
 5 November Afternoon 4:19
Tom McIntosh
 6 This Lovely Feeling  4:19
Margo Guryan / Arif Mardin
 7 The Day After 4:33
Tom McIntosh
 8 Cup Bearers 6:11  
Tom McIntosh
 9 Early Mornin' Blues 2:55
Dizzy Gillespie
Credits :
Bass – Chris White 
Drums – Rudy Collins
Flute, Alto Saxophone, Tenor Saxophone – James Moody
Piano – Kenny Barron
Trumpet – Dizzy Gillespie

DIZZY GILLESPIE – Jambo Caribe (1964-1998) RM | FLAC (image+.cue), lossless

The populist Dizzy Gillespie gets full rein in this lively, happy collection of tunes exploring rhythms and idioms from the Caribbean. Gillespie is in an ebullient mood, even offering some sly lead calypso vocals on three numbers (perhaps his lighthearted presidential "campaign" of 1964 contributed to the high spirits; the sessions began a day after Election Day). Much of the material comes from Dizzy's band on the session -- which includes the formidable James Moody on tenor and flute, Kenny Barron on piano, and percussionist Kansas Fields -- and there are some genuine calypsos by Joe Willoughby to round out the package. The cut with the biggest quota of fun is "Barbados Carnival," with guitarist Chris White doubling as a calypso singer, and the lengthy "Trinidad, Goodbye" offers the largest amount of straight-ahead playing. This slice of enjoyable minor Gillespie, originally on Limelight, was reissued on Verve with the original cover on its By Request series in 1998. Richard S. Ginell
Tracklist  :
1 Fiesta Mo-Jo 3:50
Written-By – Dizzy Gillespie
2 Barbados Carnival 3:15
Written-By – Chris White
3 Jambo 5:00
Written-By – Dizzy Gillespie
4 Trinidad, Hello 4:20
Composed By – Kenny Barron
5 Poor Joe 2:39
Composed By – Joe Willoughby
6 And Then She Stopped 3:17
Written-By – Dizzy Gillespie
7 Don't Try To Keep Up With The Joneses 2:35
Composed By – Joe Willoughby
8 Trinidad, Goodbye 8:27
Written-By – Kenny Barron
Credits
Bass, Guitar, Vocals – Chris White
Bass, Piano – Kenny Barron
Drums – Rudy Collins
Percussion – Kansas Fields
Tenor Saxophone, Flute – James Moody
Trumpet, Vocals – Dizzy Gillespie 

DIZZY GILLESPIE – 1946-1947 | The Classics Chronological Series – 986 (1998) FLAC (tracks+.cue), lossless

For bop fans inclined to thorough chronicles of their favorite stars, Classics' Chronological series might be the best place to start. Dizzy Gillespie gets the royal treatment this time out, with his 1946-1947 edition and 21 slices of rarefied and powerfully swinging work. And besides loads of the maestro's incendiary solos, the disc also spotlights other young bop talent like James Moody, Sonny Stitt, and Kenny Clarke. Beware, though: In between top-flight solo work and crack material like "Emanon" and "One Bass Hit," there are some razzy vocals and sundry hijinks, too. Still, the material all has the magic Gillespie touch and that's certainly not a bad thing. Stephen Cook     Tracklist :

JAMES MOODY – 1948-1949 | The Chronogical Classics – 1116 (2000) FLAC (tracks+.cue), lossless

These earliest sessions recorded by saxophonist James Moody under his own leadership, follow his initial years with Dizzy Gillespie, an association that would be maintained off and on throughout Dizzy's life. The disc starts in chronological order with eight sides recorded for Blue Note in October 1948. Arranged by composer Gil Fuller and backed by Moody's Modernists, which were, in essence, musicians comprised of Dizzy Gillespie's band including baritone saxophonist Cecil Payne, alto saxophonist Ernie Henry, Chano Pozo, and Art Blakey. These sessions were recorded in New York before Moody left for Europe, not to return to the states until years later. The remaining 14 tracks find him jamming with European musicians and fellow American expatriates including fellow tenor saxophonist Don Byas, mixing bebop and standards recorded in Zurich, Paris, Lausanne, and Stockholm for Vogue, Blue Star, and Prestige. Al Campbell  
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JAMES MOODY – 1949-1950 | The Chronogical Classics – 1169 (2001) FLAC (tracks), lossless

Whether you think you're already hip to James Moody, or if you aren't hip to him at all, be sure and check this stuff out! It's rare, it's beautiful and the solos are extraordinary. What you have here is essentially Moody's European tour journal. This phonographic diary takes us through Stockholm towards the end of 1949 and then to Paris in February and April of 1950. Moody is hanging with the French and the Swedes. They have been carefully studying the twists and turns of American bop. The arrangements are intricate and very contemporary. Don't worry about the goofy titles. "Three Bop Mice" and "Flight of the Bopple Bee" are actually fine pieces of work, hot and busy, composed and executed by this formidable sax and flute man from Georgia who got his start working with Dizzy Gillespie. Much of what we know about Moody comes from a stream of American records issued and reissued over a span of more than 50 years. His early European recordings are of inestimable value in their own light and as context for the rest of his work. "Three Bop Mice" seems to refer to the front line of three wicked tenor saxophones. Good thing this jam runs for nearly six minutes! It gives the guys kicking room. When Moody approaches a ballad, the results are often stunning. "Laura" is exquisite and "Body and Soul" pulsates with Moody's personal blend of languid urgency. "I'm in the Mood for Love" is the divine original take of a set of variations that would help to spawn the entire vocalese tradition, bearing forever the altered title "Moody's Mood for Love." Some will involuntarily detect echo-premonitions of Eddie Jefferson as the improvisations effortlessly unwind. Who would have guessed that the lovely upper register chorus, which Eddie would always sing in a disarming falsetto, was originally devised by the Swedish pianist Thore Swanerud? "Lester Leaps In" turns out to be the blueprint for Jefferson's wonderful vocalese outing "I Got The Blues." He obviously owned each of these Swedish records and learned them by heart. A pity he didn't get a chance to devise note-for-note lyrics to Moody's improvisations on "Indiana" "Dexterious" and "Good Bait," as these too are brilliant. The next jaw-dropper is "Blue and Moody," which proves to be the record that Eddie Jefferson turned into "Birdland Story," that exciting number heard on the 1956 Flute 'N the Blues album. This one CD holds the key to so many of James Moody's greatest records. Two 1950 Parisian sessions led by pianist Jack Dieval explore unusual harmonic realms, presenting ideas and tonalities that would take root over the next ten years. This is progressive music, unusually advanced for its day. Annie Ross sings in her most bizarre, pleasantly disorienting manner during "Le Vent Vert." Next, the Ernie Royal All-Stars punch out a five-minute "Period Suite." Russell Procope blossoms during a six-and-a-half-minute excursion through "Perdido," neatly bisected during Pierre Michelot's bass solo. Everybody ought to own a copy of this glorious disc. It is a glowing emerald deeply set in the precious lapidary of James Moody's music, surely some of the greatest music the world will ever hear. arwulf arwulf  
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JAMES MOODY – 1950-1951 | The Chronogical Classics – 1263 (2002) FLAC (tracks+.cue), lossless

April in Paris, 1950. James Moody is making records with a band led by trumpeter Ernie Royal. While two originals by Royal are based on textbook bop themes, Moody's own "Date With Kate" shows greater depth of invention. "Mean to Me" prances at a healthy clip and "Embraceable You" is presented as a slow-dance delicacy. Jumping to July of 1950, Moody leads his own "Boptet" through four remarkable exercises in modernity. Marshall "Red" Allen, who subsequently worked for decades with Sun Ra, is heard in Moody's band playing alto saxophone. These must be Allen's earliest appearances on record. "Delooney" surges ahead with peculiar chords that do in fact slightly resemble what Ra's Arkestra would be playing by 1957. "Real Cool" features the celeste and piano of Raymond Fol and some lovely bass work by Buddy Banks. "In the Anna" is a slow and harmonically altered stroll through "Back Home Again in Indiana." Moody sings a chorus of rapid-fire bop scat on "Voila." After he blows his horn for a bit, several voices sing a background chorus, which continues during a fadeout, that new effect just beginning to occur on records in 1950. Moody's last Parisian session focuses tightly upon his tenor sax backed by apparent Bud Powell devotee Raphael "Raph" Schecroun, Pierre Michelot, and the amazing Kenny "Klook" Clarke, whose solo on "Riffin' and Raphin'" is a pleasure. Hot tracks invigorate, and ballads bring on the coolest of reveries. Moody's fluidic improvisations are always full of pleasant surprises. "St. Louis Blues" gets a modern, sophisticated treatment, slipping with progressive ease into the traditional tango chorus. There are no less than three distinct renditions of "Embraceable You" on this CD. Maybe we're inside a movie and this is the recurring theme song, always returning to assist in the story line's continuity: five months in the life of James Moody. The home stretch takes listeners back to Stockholm. Backed by seven Scandinavians and bolstered by cushy arrangements, Moody delivered six gorgeous performances for the Prestige label. His balladeering is always astonishing. "How Deep Is the Ocean" has the power to reassure. So does "I'll Get By." Each of these little three-minute records should be cherished like a vision of a better world. arwulf arwulf  
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JAMES MOODY – 1951 | The Chronogical Classics – 1388 (2005) FLAC (tracks+.cue), lossless

In need of rest and recuperation after suffering under the twin scourges of alcoholism and Benzedrine addiction, saxophonist James Moody backed away from the scene in 1948 and took off to stay with his uncle in Paris for a couple of weeks, only to remain overseas for three years, making great jazz records with some of Europe's finest young players. Volume four in the Classics James Moody chronology assembles all of the recordings he made for the Metronome and Vogue labels in Stockholm and Paris between January 24 and July 27, 1951. The opening tracks, culled from the Swedish portion of the survey, are greatly enhanced by the presence of baritone saxophonist Lars Gullin, a marvelous improviser whose tonalities blend beautifully with Moody's tenor. On "Pennies From Heaven" and "Cherokee," Moody and the rhythm section are backed by a modest string ensemble; here the sonic chemistry is so pleasantly integrated as to warrant comparison with Charlie Parker's own adventures in chamber music. The next leg of Moody's European odyssey finds him backed by a rhythm section with conga drums and a huge string and wind orchestra under the direction of André Hodier. Using alto and tenor saxophones, Moody navigates well even when the monstrous ensemble threatens to engulf him. It's a relief to hear him two weeks later blowing alto sax and leading a quintet comprised of trumpeter Roger Guerin and the same trio that was used with Hodier's Orchestre: pianist Raymond Fol, bassist Pierre Michelot and drummer Pierre Lemarchand. Longtime Moody fans will thrill to hear the enclosed version of "I Cover the Waterfront," destined to serve as the basis for Eddie Jefferson's famous vocalese version on James Moody's 1956 Flute 'n the Blues album. arwulf arwulf  
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JAMES MOODY – 1951-1954 | The Chronogical Classics – 1410 (2006) FLAC (tracks+.cue), lossless

Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals -- trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore -- show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955. Special mention should be made of pianist Sadik Hakim as well as hip vocalists Iona Wade, Babs Gonzales, and the amazing Eddie Jefferson, who also served as Moody's band boss and road manager. If the Mercury titles are uniformly excellent, early modern jazz, James Moody's 1954 Prestige recordings, particularly his gorgeous rendition of "Over the Rainbow" and the breathtakingly vivid, dangerously danceable "Mambo With Moody" are enduring masterworks that warrant repeated listening. arwulf arwulf  
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BABS GONZALES – 1947-1949 | The Classics Chronological Series – 1124 (2000) FLAC (tracks+.cue), lossless

Confronted with a new, harmonically advanced music filled with rhythmic complexities, white audiences and entertainers were only able to cope with bebop by treating it as though it were a novel alternative to pig Latin. If anyone supplied the fuel for this trivialization it was Slim Gaillard and Babs Gonzales, great musicians who were also bizarre characters who invented their own forms of funny scat language. In these vintage Blue Note sides by Babs' Three Bips and a Bop, you can hear exactly where Charlie Barnet got the idea for "Bebop Spoken Here." The originals, of course, sound much better than the silly attempts of bop imitators. Babs' Blue Note vocal arrangements were by pianist Tadd Dameron, and Rudy Williams poured a whole lot of soul into his alto saxophone. "Play Dem Blues" seems to have a little bit of "Ornithology" built into its opening line. "Running Around" is a sudden switch to straight vocal ballad style. Babs sings about heartbreak. The band has been reduced to piano, bass, and guitar. With "Bab's Dream," listeners are back in full bop language mode, with reams of scat unfolding in every direction. Dameron takes fascinating solos during this easygoing minor romp, and on his own "Dob Bla Bli." Special mention should also be made of the exceptionally solid bassist Art Phipps. "Weird Lullaby" stretches out Babs' bop scat lingo to the point where listeners seem to be hearing a serenade sung by a character actor imitating a visitor from Mars. Moving over to the Apollo label, Tony Scott blows an authentic bop clarinet, Phipps continues to act as an upright axis, and Roy Haynes carries the entire band on his back. In December of 1948, Babs lined up a session with Manor, an important label in the development of early modern jazz. With a front line of James Moody, Dave Burns, and Bennie Green, this is a steamy little band. Precision arrangements make for surprisingly intricate runs. Moody sounds particularly stoked. If anyone comes looking for vestigial Fats Waller in "Honeysuckle Bop," forget about it. The reference seems to have been purely poetic. If this bop workout was somehow based upon the changes to Waller's "Honeysuckle Rose," the camouflage is so successful that nobody could ever sort it out. Jumping to Capitol Records in 1949, Babs is once again surrounded by awesome musicians: J.J. Johnson, a well-oiled Sonny Rollins, Erroll Garner's brother Linton, and Jack "The Bear" Parker. Art Pepper really cooks on "The Continental," which is one of Gonzales' most successful performances. Gonzales' voice has deepened and he seems to be growing tougher by the minute. "St. Louis Blues" is masterfully restructured and augmented with fluent bop embellishments. Hearing Don Redman and Sonny Rollins side by side with Wynton Kelly and Roy Haynes in back is a treat not to be missed. A fascinating slice of vintage bop culture, packed with restless creative energy. arwulf arwulf  
Tracklist + Credits :

ELVIN JONES | JAMES MOODY | CLARK TERRY | BUNKY GREEN ROLAND PRINCE - Summit Meeting (1977-2001) FLAC (tracks+.cue), lossless

This 1976 session led by Elvin Jones is a lot of fun, especially with the presence of Clark Terry and James Moody; rounding out the band are alto saxophonist Bunky Green, guitarist Roland Prince, pianist Albert Dailey, bassist David Matthews, and percussionist Angel Allende. Terry's matchless flügelhorn is the highlight of his original happy blues "Tee Pee Music." Green, who has devoted much of his career to being a jazz educator, contributed the challenging "Blues for Clark" and also the wild post-bop "Summit Song," the latter featuring a solo that borders on avant-garde. Duke Ellington's "Jones," a swinging blues that the maestro narrated to describe how to be cool as one listened to live jazz, is recast with a funky swagger, with Moody's smoking tenor sax and some fine call and response between the horns and the bass, though Terry steals the show by alternating back and forth between flügelhorn and muted trumpet. This somewhat obscure date is overdue to be reissued on CD. Ken Dryden
Tracklist :
1     Tee Pee Music 8'09
Clark Terry
2     Blues for Clark 5'56
Bunky Green
3     Moody Magic 6'10
Ed Bland
4     Summit Song 10'13
Bunky Green
5     Jones 9'47
Clark Terry
Credits :
Alto Saxophone – Bunky Green
Bass – David Williams
Drums – Elvin Jones
Guitar – Roland Prince
Percussion – Angel Allende
Piano – Al Dailey
Tenor Saxophone – James Moody
Trumpet, Flugelhorn – Clark Terry

DON BYAS / HOWARD MCGHEE / JAMES MOODY - Bebop (2001) Jazz In Paris 72 / RM / FLAC (tracks+.cue), lossless

Four different groups are heard on this compilation from the Jazz in Paris series. Although all groups were promoted as bop-oriented when they were overseas, the only bona fide bop musicians on the first two sessions are tenor saxophonist Don Byas and pianist Billy Taylor. The first date is jointly credited to Byas and trombonist Tyree Glenn (known for his work with Duke Ellington and Louis Armstrong); Glenn is an effective soloist, even though he's firmly a swinger at heart. But it is Byas' big-toned solos that stand out, especially in Dizzy Gillespie's "Dynamo A" (also known as "Dizzy Atmosphere"), along with the effective comping and solos of the relative youngster Billy Taylor, who also contributed "Mad Monk." Trumpeter Howard McGhee leads a sextet, featuring alto saxophonist Jimmy Heath and bassist Percy Heath, sticking primarily to the leader's compositions. McGhee's writing is insignificant (especially when compared to Jimmy Heath's output over the decades which followed); better are the interpretations of Charlie Parker's "Donna Lee" and Tadd Dameron's loping "Big Will." The last four tracks feature tenor saxophonist James Moody, with Byas, trombonist Nat Peck, and pianist Bernard Peiffer along for the ride. Only one is a Moody original, but in spite of the strong performances, the lousy work of the session's engineer produced consistently overmodulated recordings. The musicians deserved better. by Ken Dryden  
Tracklist :
1    Don Byas–    Mad Monk 2:40
Written-By – Billy Taylor
2    Don Byas–    Please Don't Talk About Me When I'm Gone 2:38
Written-By – Sam H. Stept, Sidney Clare
3    Don Byas–    The Hour Of Parting 3:24
Written-By – Gus Kahn, Micha Spoliansky
4    Don Byas–    I Can't Get Started 2:39
Written-By – Ira Gershwin, Vernon Duke
5    Don Byas–    Billie's Bounce 2:53
Written-By – Charlie Parker
6    Don Byas–    I Surrender, Dear 3:14
Written-By – Gordon Clifford, Harry Barris
7    Don Byas–    Walking Around 2:51
Written-By – Don Byas
8    Don Byas–    How High The Moon 2:39
Written-By – Morgan Lewis, Nancy Hamilton
9    Don Byas–    Red Cross 2:47
Written-By – Charlie Parker
10    Don Byas–    Laura 3:42
Written-By – David Raksin, Johnny Mercer
11    Don Byas–    Cement Mixer 2:52
Written-By – Slim Gaillard
12    Don Byas–    Dynamo A 3:30
Written-By – Dizzy Gillespie
13    Howard McGhee Sextet–    Denise 3:20
Written-By – Howard McGhee
14    Howard McGhee Sextet–    Nicole 3:28
Written-By – Howard McGhee
15    Howard McGhee Sextet–    Etoile 2:58
Written-By – Howard McGhee
16    Howard McGhee Sextet–    Punkins 3:12
Written-By – Vernon Biddle
17    Howard McGhee Sextet–    Donna Lee 3:05
Written-By – Charlie Parker
18    Howard McGhee Sextet–    Big Will 2:39
Written-By – Tadd Dameron
19    Howard McGhee Sextet–    Prelude To Nicole 3:21
Written-By – Howard McGhee
20    James Moody Quintet–    Oh Well 2:48
Written-By – James Moody
21    James Moody Quintet–    Convulsions 2:59
Written-By – Eddie Barclay
22    James Moody Quintet–    Verso 3:22
Written-By – Eddie Barclay
23    James Moody Quintet–    Recto 3:27
Written-By – Eddie Barclay
Credits :
Alto Saxophone – Hubert Rostaing (faixas: 1 to 06), Jimmy Heath (faixas: 13 to 19)
Double Bass – Jean Bouchety (faixas: 1 to 12), Lucien Simoens (faixas: 20 to 23), Percy Heath (faixas: 13 to 19)
Drums – Buford Oliver (faixas: 1 to 12), Richie Frost (faixas: 20 to 23), Specs Wright (faixas: 13 to 19)
Guitar – Jean-Jacques Tilché (faixas: 1 to 12)
Photography By – Jean-Pierre Leloir, Sipa Press, Éclair Mondial
Piano – Bernard Peiffer (faixas: 20 to 23), Billy Taylor (faixas: 1 to 12), Vernon Biddle (faixas: 13 to 19)
Tenor Saxophone – Don Byas (faixas: 1 to 12, 20 to 23), James Moody (faixas: 20 to 23), Jesse Powell (2) (faixas: 13 to 19)
Trombone – Nat Peck (faixas: 20 to 23), Tyree Glenn (faixas: 1 to 12)
Trumpet – Howard McGhee (faixas: 13 to 19), Peanuts Holland (faixas: 1 to 12)
Vocals – Peanuts Holland (faixas: 11)
Nota :
Don Byas / Tyree Glenn Orchestra
01 - 06 Paris, June 13, 1947
Don Byas Ree-Boppers
07 - 12 Paris, January 27, 1947.
Reissue of the Barclay LP 80 970 (01-12)
(P) 1976 (01-12) Universal Music S.A. France.
Howard McGhee sextet
13 - 19, Paris, May 18, 1948
Reissue of the Blue Star 78rpm discs 90 (15, 16), 91 (13, 18), 112 (17, 19), 118 (14).
(P) 1948 (13-19) Universal Music S.A. France
James Moody quintet
20 - 23, Paris, July 7, 1949
Reissue of the Blue Star 78rpm discs 130 (20, 21), 131 (22, 23)
(P) 1949 (20-23) Universal Music S.A. France 

PAQUITO D'RIVERA - Who's Smoking?! (1991) FLAC (tracks+.cue), lossless

The answer to this CD's title is the musicians. The heated bebop-oriented session finds Paquito D'Rivera joined by trumpeter Claudio Roditi, flügelhornist Mark Morganelli, Danilo Perez or Pedrito Lopez on piano, bassist Harvie Swartz, and drummer Al Foster. An extra treat is that veteran tenorman James Moody guests on three of the nine selections, inspiring D'Rivera to be particularly heated. Highlights include exciting versions of "Giant Steps" and "I Mean You," a clarinet-bass duet on "Out of Nowhere," Perez's "You Got It, Diz," and the blazing title cut. Highly recommended. by Scott Yanow
Tracklist :
1     Who's Smoking?! 8:02
Paquito D'Rivera / Claudio Roditi
2     Giant Steps 7:13
John Coltrane
3     Irremediablemente Solo (Incurably Alone) 8:04
Avelino Muñoz
4     Linda's Moody 4:48
Claudio Roditi
5     Desert Storm 8:41
Paquito D'Rivera
6     Nuestro Bolero 4:58
Pedrito Lopez
7     I Mean You 5:46
Coleman Hawkins / Thelonious Monk
8     You Got It, Diz! 6:35
Danilo Pérez
9     Out of Nowhere 5:27
Johnny Green / Edward Heyman
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet – Paquito D'Rivera
Bass – Harvie Swartz
Drums – Al Foster
Flugelhorn – Mark Morganelli
Piano – Danilo Perez, Pedrito López
Tenor Saxophone – James Moody
Trumpet, Flugelhorn – Claudio Roditi 

RAY BARRETTO & THE NEW WORLD SPIRIT - Trancedance (2000) FLAC (tracks+.cue), lossless

Conga player Ray Barretto's Trancedance is hardly a typical Latin affair, as the music is extremely wide-ranging, including 20th century classical works, classic jazz works from several decades, a pop hit, and originals by the leader. His core band consists of trumpeter John Bailey, pianist John Di Martino, saxophonist Adam Kolker, bassist Gregg August, and drummer Vince Cherico. Di Martino's intricate scoring of Monty Alexander's "Renewal" (incorporating several guest Latin percussionists plus James Moody's magical flute) is the perfect opener, followed by a similar lineup tackling the pianist's brisk arrangement of Randy Weston's "Hi-Fly." Kolker's inventive take of Thelonious Monk's "'Round About Midnight" may be the most innovative since George Russell's famous recording of "'Round Midnight" on the Riverside release Ezz-Thetics. Kolker's intriguing approach to two segments of The Grand Canyon Suite ("Sunset" and "On the Trail") find him interweaving his soprano sax with Moody's flute, while the Latin percussion fits right in with the loping gait of the donkeys in "Sunset." Kolker switches to tenor sax for a rather brisk rendition of "On the Trail." Transforming Peggy Lee's hit "Fever" into a Latin setting makes it even more sensuous, particularly with his come-hither soprano sax. All of Barretto's originals also merit praise, especially his tribute to the late conga player Tito Puente, who helped put the instrument on the map in jazz. This is easily one of Ray Barretto's best all-around recordings. by Ken Dryden 
Tracklist :
1     Renewal 6:43
Arranged By – John Di Martino
Composed By – Monty Alexander
2     Hi-Fly 6:03
Arranged By – John Di Martino
Composed By – Randy Weston
3     Trancedance 8:07
Arranged By – Michael P. Mossman
Composed By – Ray Barretto
4     Para Que Niegas 6:44
Arranged By – Adam Kolker
Composed By – Orlando Cachao   
5     I Remember Tito 6:14    
Arranged By – Adam Kolker
Composed By – Ray Barretto   
6     The Grand Canyon Suite: Sunset/On the Trail 7:13
Arranged By – Adam Kolker
Composed By – Ferde Grofe
7     'Round About Midnight 7:29
Arranged By – Adam Kolker
Composed By – Bernie Hanighen, Cootie Williams, Thelonious
8     Iberian Interlude 5:48   
Arranged By – Michael P. Mossman
Composed By – Ray Barretto   
9     Fever 5:33
Arranged By – Adam Kolker
Composed By – Eddie Cooley, John Davenport
Credits :
Bass – Gregg August, Johannes Weidenmuller (faixas: 1, 2, 4, 8)
Congas, Vocals, Arranged By, Producer, Mixed By – Ray Barretto
Drums – Vince Cherico
Flute, Alto Saxophone – James Moody (faixas: 1, 2, 5, 6, 9)
Percussion – Bobby Sanabria (faixas: 2, 4, 9), John Rodriguez (faixas: 5, 9), Los Papines (faixas: 1, 2, 4)
Piano – John Di Martino
Soprano Saxophone, Tenor Saxophone – Adam Kolker
Trumpet – John Bailey