Horn 1997

James Moody - The Blues And Other Colors (1969) {Milestone OJCCD-954-2 rel 1997}
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© 1969, 1997 Milestone / Fantasy / OJC | OJCCD-954-2
Jazz / Hard Bop / Saxophone / Flute

This CD reissues a rather unusual James Moody date. Best known for his tenor and alto playing (although he is also recognized as a talented flutist), Moody is here heard exclusively on soprano and flute. Trombonist Tom McIntosh contributed a tune and arranged all eight pieces (which also include four Moody originals). Five of the numbers feature Moody in a nonet, including an emotional "Old Folks" and an advanced reworking of Duke Ellington's "Main Step."

Like the '80s, the '90s could be a frustrating time for lovers of fusion – for every instrumentalist who was blending jazz with rock, funk and/or hip-hop in a creative way, there were ten others who were quite willing to provide boring elevator muzak in order to be played on NAC stations. Gratefully, keyboardist Jim Beard was among those who steered clear of muzak in the '90s and went with his creative impulses. Truly, the Philadelphia native's third date as a leader, and first for the Philly-based Escapade label, isn't fabulous, but it's a decent effort that strives to be unpredictable and fuses jazz with everything from rock, R&B and hip-hop to Brazilian music and classical. Beard does all of the composing, and his pieces range from the mysterious "Social Climate" and the funky "Big Pants." to the classical-minded "In All Her Finery" and the Brazilian-influenced "Hand to Hand."

Recorded in 1970 at the Key Club, Living Black! is notable for many reasons, not the least of which is that it showcased Earland in a live setting at his most inspired. From choosing his sidemen to material to reading the audience to pure instrumental execution, there isn't a weak moment on this date, nor a sedentary one. Earland makes the band roll on all burners from the git and never lets up. Consisting of four extended tunes, there's the burning rhythm and stomp of "Key Club Cookout," which blazes with wisdom and rhythm fire. Earland's own soloing is revelatory, but it is the way he drags absolutely unexpected performances from his sidemen that makes him so special as a bandleader. In this case, Grover Washington never played like this again on a record; deep in the soul groove on his tenor, he turned it inside out, looking for new embouchures in which to get the sounds out of the horn…

Oregon's first recording in a while features the three surviving original members (Ralph Towner on guitar and keyboards, bassist Glen Moore, and Paul McCandless, who switches between soprano, English horn, sopranino, oboe and bass clarinet) with either Arto Tuncboyaciyan or Mark Walker on percussion. They perform 14 originals that usually avoid blue notes, making the music sound very folk-oriented. There is plenty of variety in the atmospheres, and the consistently intriguing music should appeal to many listeners, including those who are into mood music, world music or folk songs in addition to jazz.

Aside from a three-song session for V-Disc during the late 1940s, this CD contains Clark Terry's first recordings as a leader. Already an alumni of both Charlie Barnet's and Count Basie's bands, and a then-current member of Duke Ellington's orchestra, Terry is more focused on bop in these dates, with a terrific band including trombonist Jimmy Cleveland, baritone saxophonist Cecil Payne, pianist Horace Silver, cellist/bassist Oscar Pettiford, bassist Wendell Marshall, and drummer Art Blakey, with charts by Quincy Jones. ~ AllMusic