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Crítica do álbum

Recorded a day after the initial session that became the album 4A, James Moody convened the same band to document 4B, a collection of standards and two originals by pianist Kenny Barron and bassist Todd Coolman, respectively, with drummer Lewis Nash also in for the ride. Moody plays tenor sax exclusively in a mellow, swinging temperament that suggests he's done with bop from a speed point of view, but not melodically or harmonically. Even-keeled and cool, the band effortlessly wends its way through these familiar songs with supreme confidence and a sharp wit. Moody is supremely polished and graceful, with no wasted effort or notes on classic ballad fare, and an easygoing version of Tadd Dameron's "Hot House." There's a bit of samba or light tango, the Asian modal piece of Barron's "Nikara's Song," and the unison play between the piano, bass, and tenor sax during Coolman's "O.P.'s Delight" that mix things up. Moody commands great respect from his sidemen, and they are just too good and literate to be denied high accolades. Perhaps a safe concession to mainstream jazz, it's also very enjoyable for across-the-board audiences to recognize that James Moody has still got it, approaching his ninetieth birthday. ~ Michael G. Nastos, Rovi


Nascimento: Março/03/1925 em Savannah, GA

Género: Jazz

Anos em actividade: '40s, '50s, '60s, '70s, '80s, '90s, '00s

James Moody was an institution in jazz from the late '40s into the 21st century, whether on tenor, flute, occasional alto, or yodeling his way through his "Moody's Mood for Love." After serving in the Air Force (1943-1946), he joined Dizzy Gillespie's bebop orchestra and began a lifelong friendship with the trumpeter. Moody toured Europe with Gillespie and then stayed overseas for several years, working with Miles Davis, Max Roach, and top European players. His 1949 recording of "I'm in the Mood...
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Moody 4B, James Moody
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