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They Don't Write 'Em Like This Anymore!

JSngry

By JSngry
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JSngry Grand Master

JSngry

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Ok, so I get a copy of James Moody's Scepter LP Running The Gamut, and I start reading the liner notes (uncredited, btw...) while listening to the side. What I read is a true classic of the type of liner notes that don't get written any more. Whether that's for better or for worse is not for me to say, but good god, I was nearly rolling on the floor after reading them. So I thought I'd share them. They're priceless!

FWIW, discographical info is as follow: - the personnel is Moody, Thad Jones, Patti Bown, Reggie Workman, Albert Heath, and, on one cut, vocalist Marie Volpee. Recorded Nola's Penthouse Studio, New York, August 1 and 4, 1964. Produced by Tom McIntosh. Supervised by Scepter Records. Whatever that means...A-1 is composed by Thad Jones, B-1 by Tom McIntosh, B-2 by Ed Bland, and B-4 by Adolph Sandole.

Punctuation and syntax are exact. I swear. Spelling, however, is subject to revision without notice.

And now, without further adieu, I give you:

The word "gamut" has just been invented again: by James Moody. Mr. Moody has had words with Mr. Webster, and here is Mr. Moody's side of the story. Examine it through rose-coloured prisms, however, because there is, to borrow a definition, no "entire range or series" to Moody - there are many. For instance, if gamut must be limited by the familiar note boundaries of the instrument, Mr. Moody will discover the unfamiliar. If gamut must be confined within technical prowess, Mr. Moody will put on a burst of virtuosity that will carry him out of range. And if gamut implies that everything there is to be said has been said, Mr. Moody makes one thing explicit: he never repeats himself. In short, if nobody has thought of a good reason for making gamut plural lately, here is a good reason: the plural James Moody.

SIDE ONE:

1. BUSTER'S LAST STAND...................................................6:25

The loquacious Moody and his men take the stand for Buster, and here's the gist of the testimony: a four-bar piano introduction prefaces the opening remarks of Messrs. Moody and Jones, who play a first chorus in unison. Along about the second chorus, Moody shifts his horn into high gear, and all speed records fall before this fast-talking virtuoso. Mr. Jones, who used to do the talking for Count Basie, answers in rebuttal with a brilliant display of triple-tonguing. Miss Bown and Mr. Workman each hand Buster a line. And it's Moody and that Jones boy's turn again. They have it all to themselves as they engage in a sparkling bit of repartee. Then everybody gets into the act. Moody and Jones take another bow in unison; and James sums it all up for Buster.

2. PAINT THE TOWN RED.......................................................4:47

Moody's pallate is arranged in gentle blues for this Billie Holiday classic. He and Miss Bown take turns introducing Marie Volpee, a thrush from Philly, who warbles a hauntingly beautiful first chorus in the key of soul. The moody James is eager to try his hand at landscaping. Accordingly, he dips into some chunky arpeggios and outlines the town in that bittersweet, linear style of his. If, by now, you've forgotten how it all started, Miss Volpee prods your memory with a reprise. And Mr. Jones does the exterior decorating in muted obligatto. Mr. Moody puts his brushes away last.

3. EM PREAN SHORE...............................................................3:34

James Moody and composer Dennis Sandole made each other's acquaintance several recordings ago. Now Mr. Moody has called for a reunion on Em prean shore, and he's impatient to get on with it. He starts an opening chorus of flute and trumpet, accelerating into scales, arpeggios, and some figures of speech he made up. Then Jones sounds his horn, and he's in the driver's seat for a frenzied chorus on his own. Percy Heath's brother Albert discovers a short-cut back to the beginning. And Mr. Moody and Mr. Jones go over it again for Mr. Sandole. Mr. Workman has the last word, for a change.

SIDE TWO:

1. CAPERS..............................................................................6:19

The school of Moody is in session again. And the first thing the capricious Mr. Moody does is to call recess. Miss Bown, Mr. Workman, and Mr. Heath go off and play, to be joined shortly by Moody and Jones - who just happen to have their instruments with them. Moody calls for a game of 'follow the leader'. And he's the leader. By the time everybody's caught their breath, James has pranced and galloped through two extremely articulate choruses. Ladies next:it's Miss bown's turn. With the gentlemen Jones, Workman, and Heath to follow. Then James changes the name of the game. He plays tag with Heath and Jones. There's a whole last chorus of togetherness. And school's dismissed.

2. IF YOU GRIN (YOU'RE IN)......................................................3:32

If you've been wondering what Mr. Moody would look like in rock and roll, here's the picture. In case you don't recognize him immediately, he's the one with the tongue in cheek. And James tongues a whole cheeky chorus. Next to him is Miss Bown, who's exchanged her piano for a funky organ sound. She and Mr. Heath are together, for the time being. Mr. Jones is the last one in, with a deftly handled solo. By now, everybody's making faces in the general direction of Liverpool. And it appears that the five of Moody have the last laugh.

3. WAYWARD PLANET................................................................5:46

If you have not already fallen captive to the magic of Moody, wait five minutes and forty-six seconds. For Moody is about to weave one of his most enchanting spells. His formula: take a suggestion of piano, mix gently with bowed bass and trumpet ostenuto, and over it all sprinkle the delicate song of flute, while repeating the magic words: composer Dennis Sandole.

4. FIGURINE..............................................................................3:43

It's finale time. And Moody believes in that new adage, "run, don't walk to the nearest exit." He begins by taking his own advice, although it takes him two choruses to make his get-away. James is chased by Mr. Jones, who is also in a hurry. His exit is the cue for Miss Bown and Mr. Workman to make their final remarks. Then all five take a few curtseys. And it's curtains for everyone.

It's a good record, but the liner notes are a freakin' adventure! Who wrote this stuff, anyway? :rfr:rfr:rfr

On second thought, I don't wanna know. :g:g:g

Edited by JSngry
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JSngry Grand Master

JSngry

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It's like a really bad parody of Dan Morgenstern's "play-by-play" method as told by Mort Goode's fragmented grammar. But it's no parody, I'm afraid...

As for the album itself, it's pretty good. Not quite an action movie :g but lively enough to make for a good listen or three.

I'm torn between which sentence cracks me up the most, though. Between

In short, if nobody has thought of a good reason for making gamut plural lately, here is a good reason: the plural James Moody.

and

He starts an opening chorus of flute and trumpet, accelerating into scales, arpeggios, and some figures of speech he made up.

it's a tough call. And yeah, when I read "ostenuto", that put it over the top once and for all. But really, the whole thing is just...unbelievable.

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