JAMES MOODY

80 YEARS YOUNG: LIVE AT THE BLUE NOTE-March 26, 2005

Origin Records

James Moody, tenor saxophone/flute/vocals; David Hazeltine, piano; Todd Coolman, bass; Adam Nussbaum, drums; Jon Faddis, trumpet; Paquito D’Rivera, clarinet/alto saxophone; Slide Hampton, trombone; Randy Brecker, trumpet; Cedar Walton, piano (on track 9.); George Wein, master of ceremonies.

James Moody opens his album spreading laughter across the Blue Note jazz room with his infectious humor, singing the delightful lyrics to the tune “Bennie’s From Heaven.” Each of the musicians in his band are given space to explore their improvised solos. ‘Fours’ are traded with the dynamic Adam Nussbaum on drums.  Pianist, David Hazeltine, is always a pleasure to hear.  His talent is electric with long, creative piano phrases spilling from his fingertips. Todd Coolman furiously walks his bass beneath the excitement, locking the rhythm section into place with Nussbaum.

Of course, I remember James Moody for his internationally acclaimed hit record “Moody’s Mood.”

This ‘live’ band is fire!  They continue their slow burn with the familiar “Cherokee” jazz standard, featuring James Moody playing flute at a rapid and Straight-ahead pace.  Moody follows this with his worldwide hit record and trademark song “Moody’s Mood for Love.” On the ending, Adam Nussbaum lays down a funky groove and Moody displays his sense of humor by rapping about television shows and romance.  It surprises the attentive audience. They are both entertained and intrigued by Moody’s ability to participate inclusively, incorporating the young-folks hip hop style of music into his beloved jazz style.

To the pleasure of the excited audience, he introduces the brilliant trumpeter, Jon Faddis, the iconic Paquito D’Rivera on clarinet and alto sax, and the legendary Slide Hampton on trombone.  Each of these masters were Moody’s good friends. Individually, they take eloquent solos. Hampton makes his trombone talk like a human voice. Paquito’s clarinet sings like a songbird, and Faddis hits those high notes on the trumpet that stun me and the ‘live’ audience.

The ensemble flies on “Bebop,” where Moody shows that despite his eighty-years on earth, in 2005, he was still quite capable of exploring his saxophone and playing at a non-stop, rapid rate of speed without faltering. His chops were still breathtakingly astounding. Slide Hampton’s up-tempo, speedy delivery on trombone was also mind-boggling! Of course, Faddis offered a solo that made his trumpet sound like a cross between a bird on acid and a wild whistle. This album is both historic and entertaining.

As James Moody introduces us to his all-star band, they play Happy Birthday in the background.  The concert ends with “Ow” that so many bands use as a ‘closer.’  Moody introduces Cedar Walton, now seated at the piano. Throughout this album, I sat breathless, on the edge of my seat. I suspect you will too!

Reviewed by Dee Dee McNeil

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Breaking Chains is a groundbreaking guide for independent musicians ready to take control of their careers in the rapidly evolving world of decentralized music. From blockchain-powered royalties to NFTs, DAOs, and smart contracts, this book breaks down complex Web3 concepts into practical strategies that help artists earn more, connect directly with fans, and retain creative freedom. With real-world examples, platform recommendations, and step-by-step guidance, it empowers musicians to bypass traditional gatekeepers and build sustainable careers on their own terms.

More than just a tech manual, Breaking Chains explores the bigger picture—how decentralization can rebuild the music industry’s middle class, strengthen local economies, and transform fans into stakeholders in an artist’s journey. Whether you’re an emerging musician, a veteran indie artist, or a curious fan of the next music revolution, this book is your roadmap to the future of fair, transparent, and community-driven music.