Artist: James Moody
Winner of 2010 Grammy Award
Produced and mixed by Michael Patterson
Winner of 2010 Grammy Award
for Best Jazz Instrumental Album (Individual or Group)
Moody 4B was recorded in July 2008 in New York City. Work began one day after completion of Moody’s 2009 release Moody 4A. Moody employed the same musicians for both recordings; pianist Kenny Barron, bassist Todd Coolman, and drummer Lewis Nash with Moody on tenor sax. The album consists of reworks of seven selections from the Great American Songbook and jazz standards plus two originals composed by Barron, “Nikara’s Song”, and Coolman, “O.P. Update”.
James Moody – Tenor Saxophone
Kenny Barron – Piano
Todd Coolman – Bass
Lewis Nash – Drums
Bill Sorin – Executive Producer
Michael Patterson – Producer/ Arranger
Michael Patterson, producer on this CD, has produced over 8 recordings for iporecordings.com over the past 7 years. Artists he has produced for ipo include Hank Jones, Eddie Daniels, James Moody and an all star band which featured Frank Wess, Benny Golson, Richard Davis, and Bob Brookmeyer. This was the 5th recording which he had produced for Moody.
Jon Rosenberg, our wonderful engineer, and Michael Patterson mixed the recording.
Moody, at 85, was in top form. Moody 4B is truly a timeless recording.
REVIEWS AND HIGHLIGHTS
In 2010 it’s still a tremendous pleasure to hear the great James Moody, a wonderful saxophonist with impeccable control, confidence and instrumental mastery. … Simply put, Moody’s mighty saxophone work hasn’t lost its luster, and he shows that Sonny Rollins isn’t the only one in his 80s with plenty left to say.
– JAZZ TIMES
4B, in fact, is a great place to not only hear all things Moody but Barron as well, as he glides through this straight ahead program as the consummate accompanist/soloist.
4B offers just more than an hour of a master stylist at work, ably abetted by some of the finest musicians around. If that’s not enough for you, maybe you’re reading the wrong magazine.
– IAJRC JOURNAL
This is a superlative, melodious session with the collaborating veteran personnel at their creative best.
– JAZZ & BLUES REPORT
The music exudes class and dignity. Moody plays with great melodic sense, telling a story with each of his solos and never overplaying.
– MUSIC & MORE
Artist: James Moody
Produced and mixed by Michael Patterson
Moody 4A is James Moody and Kenny Barron at their swinging best. This new disc features legendary jazz pianist Kenny Barron in a beautifully relaxed, swinging, classic session. Moody has never sounded better! Whether James Moody is playing the soprano, alto, or tenor saxophone, he does so with deep resonance and wit. This jazz great has a healthy respect for tradition but takes delight in discovering new musical paths, which makes him one of the most consistently expressive and enduring figures in modern jazz today. Kenny Barron s unmatched ability to mesmerize audiences with his elegant playing, sensitive melodies, and infectious rhythms has made him one of the most respected pianists in modern jazz.
The result is a different Moody recording. No tricks. No cute stuff. No movie music. No clowning. Just serious, seamless ideas and a bared soul. This is Moody singing through his horn, and each song hits you as if you’re hearing them for the first time. It’s amazing what happens when tempos are reigned in and a song’s beauty speaks for itself. The most remarkable track on this CD is East of the Sun. It features only Moody and pianist Kenny Barron, who is a legend in his own right. Taken at a pace close to Parker’s Mood, Moody digs in deep here, channeling Sarah Vaughan’s 1950 version for Columbia. What surfaces is one of the most beautiful instrumental versions I’ve heard in some time. You get to hear how well-rounded Moody’s tone has become and how tasteful Barron continues to be. They’re so good, in fact, that an entire album of Moody and Barron duos would be most welcome.
Moody 4A (the first release form a two-day session – Moody 4B is yet to come) shows the talented, yet somewhat overlooked saxophonist still playing great and sounding fabulous on tenor… this recording takes Moody back into the world of straight-ahead standards, with results so warm and joyful as to be taken to heart by the listener.
– JAZZ CHICAGO
Because James Moody’s career coincides precisely with the history of modern jazz, where you came in on one is where you came in on the other.
– JAZZ TIMES
There are so few of the true jazz masters left – those that began their careers in the 1940s and endured and prospered through swing, bebop, cool, hard bop, fusion, and into contemporary jazz genres. You can probably count them on your fingers and toes and be done. .. But we still have James Moody… 4A is four veterans sharing for nearly an hour their greatness for a jazz public, who knows that it is uncertain that we will have new generations of jazz musicians as dedicated to their craft as to play for over half a century, and still be able to bring their “4A” game.
– AUDIOPHILE EDITION
James Moody. Here’s an artist that established himself as a prime exponent of the Bop tenor (with Dizzy Gillespie’s band) and has been going strong ever since. More than 60 years on the stand, in the studios. That’s amazing enough. But listen to his latest album, 4A (IPO). He sounds beautiful… Hearing James Moody playing so well is an experience akin to having Abraham Lincoln still around to re-deliver the Gettysburg Address with undiminished oratory power… listen to this CD. You’ll be the better for it.
– GAPPLEGATE MUSIC REVIEW
Artist: Gene Bertoncini
Conducted, Arranged and co-produced by Michael Patterson
“Concerti” the latest Super Audio CD release from Ambient Records features Gene Bertoncini on nylon string guitar teamed up with a String Quartet and special guest David Finck on acoustic bass. “Concerti” features classic, contemporary and original compositions arranged for string quartet combined with Gene Bertoncini’s personal solo guitar arrangements. This SACD is packed with 52 min. of musical virtuosity and listening pleasure.
“It was a magical couple of days at Ambient Recording Company…….. The sound of the string quartet, led by principal violinist, Mark Feldman and driven by the strong bass lines and solos of David Finck was an exhilarating experience for me, and a joy to play to.”
–Gene Bertoncini, from the liner note
A variety of classic, contemporary and original compositions with innovative arrangements for both string quartet and nylon string guitar make this a unique masterwork that is sure to be a classic of its own.Gene Bertincini’s “Concerti” features string quartet arrangements by Michael Patterson, Fred Sturm, Brian Gabor and Joseph Gianono. The quartet comprised of Mark Feldman – first violin, Rob Moose – second violin, Kelly Dylia – viola and Dana Leong – cello was conducted by Michael Patterson. Bassist David Finck rounds out this recording with his virtuosic bass comping and solos.
One More: The Summary – Music of Thad Jones, Vol 2
Artists: Hank Jones, Kenny Washington, John Mosca, Richard Davis, Frank Wess, Benny Golson, Jimmy Owens, Eddie Daniels, James Moody
Arrangements by Michael Patterson
From All About Jazz:
There are about a dozen reasons for getting this gorgeous and perfect followup to last year’s tribute to Thad Jones. For reasons of editorial economy, you only need to know how rare it is that one single recording could feature sax players from 4 (count ’em) different musical generations: bebopper James Moody, Swinger Frank Wess, Hard Bopper Benny Golson and Post Modernist Eddie Daniels. To hear the contrasts in tone and styles during each song is a sonic and historic wonder. 64 year old Daniels, except for drummer Kenny Washington, is the youngest member of this band by over 20 years, with almost nanogenerian Hank Jones playing as tastefully and gentlemanly swinging as ever. Everyone on this disc is in prime form: Daniels … is delightfully selective on his solos, particularly on “Little Pixie”.
Songs like “Groove Merchant” feature all four tenors displaying their wares with inspiring clarity. This song alone is worth a semester’s credits at any music academy. Wess’ and Moody’s flute work on the Parker inspired “Birdsong” blend with Jim Owen’s trumpet to delightful satisfaction. Best of all is the closing duet with Moody’s tenor and Jones’ piano turning “The Summary” into possibly the greatest performance of the year. If this doesn’t make your heart skip a beat, check your pulse to make sure you’re alive. Buy it, grab it, love it and hold it. Over 650 years of experience are found in this nonet of musicians, and it will take you that long to find something better.
This tribute to Thad Jones’ music is not only equal to Volume One (One More) but eclipses it, proving a worthy candidate for jazz album of the year 2007. One of the differences is Eddie Daniels, whose inviting solo on “Little Pixie” introduces a session that’s as free-spirited as it is respectful of its inspirational source. I can remember when jazz followers marveled at the patience of Jones playing second trumpet night after night in the Count Basie Band, forfeiting most of the limited solo space to Joe Newman. It’s ironic that this magnificent musician no doubt was the last to know his own musical worth. Even on a ‘commercial’ soul session scored for Sonny Stitt, Goin’ Down Slow (Prestige, 1972), the arranger-trumpeter had few equals at balancing the expectations of the listener with the needs of the musician. The scaled-down arrangements by Michael Patterson capture the big band concepts and textures of the Jones originals, with superlative support from the tight and balanced ensembles and the empathetic tandem of bassist Richard Davis and percussionist Kenny Washington, who knows when to go to the backbeats and when to back down, lest the groove upstage the composer’s compelling musical narratives. The solos may surprise listeners who assume that the venerability of the musicians (and the scarcity of recent recorded work by them) attests to a decline in instrumental prowess. Trumpeter Jimmy Owens, who hasn’t been heard from much since his auspicious debut with Kenny Barron or work with Mingus (At UCLA), proves that he’s better than ever, whether employing a breathy, vocal quality (“Little Pixie”), a smooth flugelhorn sound (“Three in One”), or brilliant and elliptical, Jones-like melodic ideas (“Rejoice”). John Mosca, whose approach is somewhere between the brassy pyrotechnics of Frank Rosolino and the fluid precision of Carl Fontana, reminds us that the great trombonists are simply not being recorded or heard, but through no fault of their own. But most notable is an unlikely tetralogy of “tough” tenors. Once again, Eddie Daniels surprises, a virtuoso player who can afford to be extemporaneous, forego “control” and be up to the challenge. He’s not simply a clarinetist who “doubles on tenor”; he knows the bigger horn well, going head-to-head with Benny Golson and Frank Wess on several exchanges, as well as following Owens on the aforementioned “Rejoice” with his own killer solo. Golson sounds stronger to me than on a recording session made eight years ago, and the redoubtable Wess remains in championship form on both tenor and flute. Fortunately, none of the three has to trade choruses with James Moody, whose solo on “Birdsong” amounts to an extended harmonic clinic, arguably the highlight among many standout solos. The final two tracks – Jones’ classic “Three in One” and “The Summary” – bring this generous session to an immensely satisfying close. The latter tune, a meditative, poignant duet taken by Moody and brother Hank Jones, is a movement from Suite for Pops – a fitting reminder that a session such as this is less about closure than keeping the tradition alive.
Artists: James Moody and Hank Jones
Produced by Michael Patterson
“Our Delight” (IPO) is the wonderful new release by James Moody, a garrulous saxophonist and flutist, and Hank Jones, an unfailingly elegant pianist.
– THE NEW YORK TIMES
Moody plays with so much feeling, ease and fluidity that you can count this album as something of a definitive musical statement for him. As for Jones, he’s occupied a prominent place in the circle of piano greats his entire career, and this performance will tell you why.
– JAZZSCENE REVIEWS
When people go on about the golden virtues of jazz — elegance of expression, a burnished and beautiful tone, an improviser’s accumulated wisdom applied to blues and ballads and bop — this is the sort of music they’re talking about.
5 Stars. This recording is as fresh as new mown hay, Moody’s tone is as clean as the board of health and Hank Jones is simply magic on the keyboard. … I defy anyone to dispute the pure jazz on this disc. … I’m talking about the real deal and it’s here not only for the pleasure of listening but for the edification and education of those who are searching for inspiration.
– EJAZZ NEWS
The names James Moody and Hank Jones should bring a smile to any jazz aficionado’s face, there’s a lot of history and pride in their collective histories. The chicken skin will begin in a few seconds as I let you know that both of them have united to form a quartet, featuring Adam Nussbaum (drums) and Todd Coolman (bass) and if that doesn’t make your creative juices flowing in terms of what this could sound like, let me just say that the reality is as great as you think it is.
– THE RUNOFF GROOVE
Homecoming: Live at the Iridium
Artist: Eddie Daniels
Co-Produced/Arrangements and original compositions by Michael Patterson
A two-CD live recording of Eddie Daniels on his return to his hometown New York after 20 years, recorded live at The Iridium club.
When you have a live performance, excellent recording and tremendous players all coming together it is noteworthy. That is exactly what you have in this two CD package. The result is one of those recorded experiences you hate to put down.. I have played this two record package many times and, folks, it only gets better. These five men do not consist of a band that works together regularly yet they have great regard for each others’ skills and have the cars to blend together to make jazz the miracle that it can be at its best. First, Eddie Daniels – he not only plays his customary clarinet but also the tenor sax. Lest you forget, he once was a member of the Thad Jones-Mel Lewis aggregation and in that band he played a lot of tenor sax. He knows his way around on that instrument and uses it with great results many places in this setting. Unless you have been off the planet for a long time, you will know that he is THE clarinet player at this time.
Tom Ranier is one of those pianists who just knows how to swing and when he accompanies just knows what to put down and what to leave out. He has several solos and uses them to great advantage. The bassist, Dave Kinck and the drummer Joe La Barbara do get solo space. The latter several times in trading 4’s and 8’s with the front line. Both could be described as very tasty in their playing. They are right there backing the front line without failure. Put it altogether and you have a band that just excels.I wish I could have been there to hear them in person.
All in all, a great recording. I urge you to go out and grab this one. Great straight ahead jazz. It doesn’t get any better than this.
– IAJRC (The International Association of Jazz Record Collectors)
If there is a better clarinet player anywhere in this world (or any other for that matter) than Eddie Daniels, I’ve never heard him or her … Greatness is hard to define and totally subjective, but if you need evidence as to Daniels’ greatness as a clarinet and tenor player, make this CD exhibit A.
– SAX JOURNAL
Mean What You Say
Artist: Eddie Daniels
Co-Produced arranged by Michael Patterson
AllAboutJazz: “A superb recording which deserves consideration as one of the best of the year.”
JazzTimes: “In a word, Daniels dazzles. There are eight tracks on clarinet, four on tenor, and Daniels dances through each with a fluency that evidences an instant mind-spirit-instrument connection… Let’s hope Daniels doesn’t wait another decade to release the next one.”
ejazznews.com: “I suggest that where this CD is headed is under the lasers of countless CD players. This is damn good stuff!! This is the American Songbook with consummate class.”
swing2bop: “This exceptionally attractive mainstream set from Eddie Daniels finds the veteran saxophonist/clarinetist in very good form. His clarinet playing is incisive and inventive, his tenor saxophone fluent and melodic. Backing Eddie is a rhythm section leaders must dream about … and there is not a moment without interest or excitement or pleasure or any combination thereof. This is mainstream jazz at its very best and this CD belongs on the shelves of any discerning collector.”
One More: The Music of Thad Jones, Vol. 1
Artists: Bob Brookmeyer, Richard Davis, Benny Golson, Sir Roland Hanna, Hank Jones, James Moody, Jimmy Owens, Mickey Roker, and Frank Wess.
Co-Produced and arrangements by Michael Patterson
Recorded in NYC, March 8 & 9, 2004.
Featuring Bob Brookmeyer, Richard Davis, Benny Golson, Sir Roland Hanna, Hank Jones, James Moody, Jimmy Owens, Mickey Roker, and Frank Wess.
To celebrate the 40th anniversary of the formation of the Thad Jones/Mel Lewis Orchestra, and as an excuse to play the compositions of the late great Thad Jones, a group of top jazz veterans was enlisted for this project. Michael Patterson arranged 11 of Jones’ songs, adapting Thad’s own arrangements, which were originally made for either combos or a big band, for the all-star octet. Each of the veteran musicians had an association with Thad Jones.
Happily, they all sound in pretty good form, with the tenors of Benny Golson, James Moody, and Frank Wess battling it out on “One More.” A tape of the late pianist Sir Roland Hanna is used during the first part of Jones’ most famous original, “A Child Is Born.” Jimmy Owens proves to be an excellent fill-in for Thad; this is one of his finest recordings. It is also fitting that Thad’s older brother, Hank Jones, is on piano. The final number, Thelonious Monk’s “Monk’s Mood,” is included because it was one of Thad Jones’ favorite songs. All in all, this is a well-conceived and very musical tribute.
– Scott Yanow