[Congressional Record (Bound Edition), Volume 150 (2004), Part 13]
[Extensions of Remarks]
[Pages 18003-18004]
[From the U.S. Government Publishing Office, www.gpo.gov]




                        A SALUTE TO JAMES MOODY

                                 ______
                                 

                         HON. JOHN CONYERS, JR.

                              of michigan

                    in the house of representatives

                      Thursday, September 9, 2004

  Mr. CONYERS. Mr. Speaker, as Dean of the Congressional Black Caucus, 
and Chairman of the Jazz Forum and Concert, which occurs during our 
Foundation's Annual Legislative Conference, I rise today to salute the 
lifetime achievements of one of the most distinguished artists in 
American music history, James Moody. Just a few years ago, in 1998, 
James Moody received the prestigious Jazz Masters Award from the 
National Endowment of the Arts. The following biography, found on 
Moody's own web page, chronicles a career of accomplishment deserving 
of such high recognition, and of this body's thoughtful attention and 
respect:
  For nearly four decades, saxophone master James Moody has serenaded 
lovers with his signature song Moody's Mood for Love; an improvisation 
on the chord progressions of I'm in the Mood for Love.
  Born in Savannah, Georgia on March 26, 1925, and raised in Newark, 
New Jersey, James Moody took up the alto sax, a gift from his uncle, at 
the age of 16. Within a few years he fell under the spell of the deeper 
more full-bodied tenor saxophone after hearing Buddy Tate and Don Byas 
perform with the Count Basie Band at the Adams Theater in Newark, New 
Jersey.
  In 1946, following service in the United States Air Force, Moody 
joined the seminal bebop big band of Dizzy Gillespie, beginning an 
association that--on stage and record, in orchestras and small combos--
afforded a young Moody worldwide exposure and ample opportunity to 
shape his improvisational genius. Upon joining Gillespie, Moody was at 
first awed, he now admits, by the orchestra's incredible array of 
talent, which included Milt Jackson, Kenny Clark, Ray Brown and 
Thelonius Monk. The encouragement of the legendary trumpeter-leader, 
made its mark on the young saxophonist. His now legendary 16-bar solo 
on Gillespie's Emanon alerted jazz fans to an emerging world-class 
soloist.
  During his initial stay with Gillespie, Moody also recorded with Milt 
Jackson for Dial Records in 1947. One year later he made his recording 
debut as a leader on James Moody and His Bop Men for Blue Note.
  In 1949 Moody moved to Europe where in Sweden he recorded the 
masterpiece of improvisation for which he is renowned, Moody's Mood for 
Love.
  Returning to the States in 1952 with a huge ``hit'' on his hands, 
Moody employed vocalist Eddie Jefferson. Also, working with him during 
that period were Dinah Washington and Brook Benton.
  In 1963 he rejoined Gillespie and performed off and on in the 
trumpeter's quintet for the remainder of the decade.
  Moody moved to Las Vegas in 1973 and had a seven year stint in the 
Las Vegas Hilton Orchestra, doing shows for Bill Cosby, Ann-Margaret, 
John Davidson, Glen Campbell, Liberace, Elvis Presley, The Osmonds, 
Milton Berle, Redd Foxx, Charlie Rich, and Lou Rawls to name a few.
  Moody returned to the East Coast and put together his own band 
again--much to the delight of his dedicated fans. In 1985, Moody 
received a Grammy Award Nomination for Best Jazz Instrumental 
Performance for his playing on Manhattan Transfer's Vocalese album thus 
setting the stage for his re-emergence as a major recording artist.
  Moody's 1986 RCA/NOVUS debut Something Special ended a decade-long 
major label recording hiatus for the versatile reedman. His follow-up 
recording, Moving Forward showcased his hearty vocals on What Do You Do 
and his interpretive woodwind wizardry on such tunes as Giant Steps and 
Autumn Leaves.
  Music is more than a livelihood to Moody, so much so that portions of 
Sweet and Lovely, dedicated to his wife, Linda, figured prominently in 
the saxophonist's wedding ceremony on April 3, 1989. As well as being 
on the album, Gillespie was best man at the wedding for his longtime 
friend. The bride and groom walked down the aisle to Gillespie's solo 
on Con Alma then everyone exited the church to the vamp on Melancholy 
Baby. As their first act of marriage Linda and James Moody took 
communion accompanied by the groom's recording of Sweet and Lovely. In 
1990, Moody and Gillespie received a Grammy Award Nomination for their 
rendition of Gillespie's Get the Booty, which showcases scatting at its 
best. Moody returns the soprano sax to his woodwind arsenal on Honey, 
his nickname for his wife, Linda, and Moody's last recording for RCA/
NOVUS.
  On March 26th, 1995 Moody got the surprise of his life with a 
birthday party in New York. It was an evening of historical 
significance for Jazz with many guest stars and Bill Cosby as the 
emcee. It can be heard on Telarc's recording, Moody's Party--James 
Moody's 70th, Birthday Celebration, Live at the Blue Note.
  In 1995 Moody's Warner Bros. release of Young at Heart, was a tribute 
to songs that are associated with Frank Sinatra. With an orchestra and 
strings, many people feel this is among the most beautiful of all James 
Moody recordings.
  Moody's follow-up recording for Warner Bros., was called Moody Plays 
Mancini. It showcased Moody on all of his horns and flute.
  Moody's most recent recording Homage (for Savoy Records) features 
music especially composed for him by Herbie Hancock, Chick Corea and 
Joe Zawinul, among others.
  Whether Moody is playing the soprano, alto, tenor, or flute, he does 
so with deep resonance and wit. Moody has a healthy respect for 
tradition, but takes great delight in discovering new musical paths, 
which makes him one of the most consistently expressive and enduring 
figures in modern jazz today. To quote Peter Watrous of the New York 
Times, ``As a musical explorer, performer, collaborator and composer he 
has made an indelible contribution to the rise of American music as the 
dominant musical force of the twentieth century.''

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