Moody's Mood for Love

Last updated

"Moody's Mood for Love"
Song by James Moody
Composer(s) James Moody
Lyricist(s) Eddie Jefferson

"Moody's Mood for Love" is a 1952 song by Eddie Jefferson, whose melody is derived from an improvised solo by jazz saxophonist James Moody (and a brief solo in the middle by pianist Thore Swanerud) on a 1949 recording of the 1935 song "I'm in the Mood for Love". [1] The song is structured as a duet, with a man proclaiming his love for a woman, and the woman (in the part of the melody corresponding to the piano solo) responding in kind.

Contents

The song gained widespread popularity after being recorded by singer King Pleasure, with the woman's part sung by Blossom Dearie. The song helped to popularize the vocalese jazz singing style. It has since been covered by many artists. Moody himself adopted the song as his own, recording it with Jefferson on the 1956 album Moody's Mood for Love and often singing the song himself in concert.

History

James Moody created his improvised solo in 1949 on a visit to Sweden. Moody's playing clearly shows the influence of Charlie Parker. [2] The recording includes, in the middle, an eight-bar improvisation by Swedish pianist Thore Swanerud, who was part of the backing band.

At some point in the next few years, jazz singer Eddie Jefferson wrote lyrics to this improvised melody, a practice known as vocalese, [3] and added the song to his repertoire. Jefferson's lyrics include the piano solo, which is sung from the point of view of a woman ("What is all this talk about loving me, my sweet?"). It also references Moody himself at the end of the song ("James Moody, you can come on in and you can blow now if you want to"). King Pleasure heard Jefferson perform it in a jazz club and asked permission to reproduce it. Pleasure's recording, released in 1952, gave the song its now-common title of "Moody's Mood for Love". It included Blossom Dearie singing the female part, and a band headed by Teacho Wiltshire. [4] The recording, King Pleasure's first, was a hit for the Prestige label.

Following King Pleasure's successful recording, Jimmy McHugh, who wrote the music for "I'm in the Mood for Love", sued for copyright infringement and won a partial victory in court. He and Moody eventually agreed to share the proceeds on sales of any versions of the tune. [5]

Moody embraced the song, and later hired Jefferson to come on the road with him. Jefferson also appeared on a number of Moody's subsequent albums: Moody (1954), James Moody's Moods , Hi Fi Party , Flute 'n the Blues (all 1956), Moody's Mood for Love (1957), Hey! It's James Moody (1959), and Cookin' the Blues (1964).

Influence

Although "Moody's Mood for Love" was not the first vocalese song, it helped bring that music form to a much wider audience. Most notably, it helped start the career of vocalese pioneer Jon Hendricks. Hendricks was sitting in a café when the King Pleasure recording of "Moody's Mood" came on the jukebox. According to Hendricks, he had been writing "unpopular" songs for some time, but when he heard the recording and realized that it was a saxophone solo with words he decided to change his approach to songwriting. "I didn't have to stop at 32 bars. Now I could write lyrics for all the parts in the orchestra." He went on to collaborate with the singer and arranger Dave Lambert and the singer Annie Ross to form the vocalese group Lambert, Hendricks & Ross.

In the 1970s, New York City urban contemporary radio DJ Frankie Crocker played the King Pleasure recording of the song every night at the end of his show on WBLS-FM.

Notes

  1. Luebbert, David. "I'm in the Mood For Love". SongTrellis. Retrieved April 3, 2009.
  2. Tyle, Chris. "I'm in the Mood for Love (1935)". JazzStandards.com. Retrieved April 3, 2009.
  3. Kurtz, Alan. "King Pleasure: Moody's Mood For Love (aka I'm In The Mood For Love)". Jazz.com. Retrieved April 3, 2009.
  4. Billboard magazine, May 24 1952, page 36
  5. Milkowski, Bill (March 2004). "James Moody: Playing with the Changes". JazzTimes. Retrieved April 3, 2009.

Related Research Articles

<span class="mw-page-title-main">Scat singing</span> Vocal improvisation with wordless vocables, nonsense syllables or without words at all

Originating in vocal jazz, scat singing or scatting is vocal improvisation with wordless vocables, nonsense syllables or without words at all. In scat singing, the singer improvises melodies and rhythms using the voice solely as an instrument rather than a speaking medium. This is different from vocalese, which uses recognizable lyrics that are sung to pre-existing instrumental solos.

<span class="mw-page-title-main">Bobby McFerrin</span> American jazz singer and conductor

Robert Keith McFerrin Jr. is an American jazz singer and songwriter. He is known for his vocal techniques, such as singing fluidly but with quick and considerable jumps in pitch—for example, sustaining a melody while also rapidly alternating with arpeggios and harmonies—as well as scat singing, polyphonic overtone singing, and improvisational vocal percussion. He is widely known for performing and recording regularly as an unaccompanied solo vocal artist. He has frequently collaborated with other artists from both the jazz and classical scenes.

Vocalese is a style of jazz singing in which words are added to an instrumental soloist's improvisation.

"How High the Moon" is a jazz standard with lyrics by Nancy Hamilton and music by Morgan Lewis. It was first featured in the 1940 Broadway revue Two for the Show, where it was sung by Alfred Drake and Frances Comstock. In Two for the Show, this was a rare serious moment in an otherwise humorous revue.

<span class="mw-page-title-main">Annie Ross</span> British-American jazz singer and actress (1930–2020)

Annie Ross was a British-American singer and actress, best known as a member of the influential jazz vocal trio Lambert, Hendricks & Ross. She pioneered the vocalese style of jazz singing, with a style described by critic Dave Gelly as "a kind of dreamy watchfulness that is a definition of 1950s hip." In 2010, she was named a Jazz Master by the National Endowment for the Arts.

<span class="mw-page-title-main">Jon Hendricks</span> American jazz lyricist and singer (1921–2017)

John Carl Hendricks, known professionally as Jon Hendricks, was an American jazz lyricist and singer. He is one of the originators of vocalese, which adds lyrics to existing instrumental songs and replaces many instruments with vocalists, such as the big-band arrangements of Duke Ellington and Count Basie. He is considered one of the best practitioners of scat singing, which involves vocal jazz soloing. Jazz critic and historian Leonard Feather called him the "Poet Laureate of Jazz", while Time dubbed him the "James Joyce of Jive". Al Jarreau called him "pound-for-pound the best jazz singer on the planet—maybe that's ever been".

King Pleasure was an American jazz vocalist and an early master of vocalese, where a singer sings words to a well-known instrumental solo.

<span class="mw-page-title-main">Blossom Dearie</span> American jazz singer and pianist (1924–2009)

Margrethe Blossom Dearie was an American jazz singer and pianist. She had a recognizably light and girlish voice. Dearie performed regular engagements in London and New York City over many years and collaborated with many musicians, including Johnny Mercer, Miles Davis, Jack Segal, Johnny Mandel, Duncan Lamont, Bob Dorough, Dave Frishberg, and Jay Berliner.

<span class="mw-page-title-main">Eddie Jefferson</span> American jazz vocalist and lyricist

Eddie Jefferson was an American jazz vocalist and lyricist. He is credited as an innovator of vocalese, a musical style in which lyrics are set to an instrumental composition or solo. Jefferson himself claims that his main influence was Leo Watson. Perhaps Jefferson's best-known song is "Moody's Mood for Love" which was recorded in 1952, though two years later a recording by King Pleasure catapulted the contrafact into wide popularity. Jefferson's recordings of Charlie Parker's "Parker's Mood" and Horace Silver's "Filthy McNasty" were also hits.

"It Might as Well Be Spring" is a song from the 1945 film State Fair. which features the only original film score by the songwriting team of Richard Rodgers and Oscar Hammerstein II. "It Might as Well Be Spring" won the Academy Award for Best Original Song for that year.

"I'm in the Mood for Love" is a popular song published in 1935. The music was written by Jimmy McHugh, with the lyrics by Dorothy Fields. The song was introduced by Frances Langford in the movie Every Night at Eight released that year.

<span class="mw-page-title-main">James Moody (saxophonist)</span> American jazz musician

James Moody was an American jazz saxophone and flute player and very occasional vocalist, playing predominantly in the bebop and hard bop styles. The annual James Moody Jazz Festival is held in Newark, New Jersey.

<i>Vocalese</i> (album) 1985 studio album by The Manhattan Transfer

Vocalese is the ninth studio album by Jazz band The Manhattan Transfer, released in 1985 on the Atlantic Records. Recording sessions took place during 1985. Production came from Tim Hauser and Martin Fischer. This album is considered to be The Manhattan Transfer's most critically acclaimed album. It received 12 Grammy nominations, making it second only to Michael Jackson's Thriller as the most nominated individual album. It also received extremely high ratings from music critics, including a 4.5 out of 5 stars rating from Allmusic. The album peaked at number 2 on the Top Jazz Albums and number 74 on the Billboard 200. The album's title Vocalese refers to a style of music that sets lyrics to previously recorded jazz instrumental pieces. The vocals then reproduce the sound and feel of the original instrumentation. Jon Hendricks, proficient in this art, composed all of the lyrics for this album.

Jeannine "Mimi" Perrin was a French jazz pianist, singer, and translator.

"Twisted" is a 1952 vocalese song with lyrics by Annie Ross, set to a tenor saxophone solo of the same name by Wardell Gray that was recorded in 1949. It has been covered by Bette Midler, Joni Mitchell, and many others.

<i>Moog for Love</i> 2016 EP by Disclosure

Moog for Love is the sixth extended play recorded by British electronic music duo Disclosure, consisting of brothers Howard and Guy Lawrence. The three-track record was released on 15 June 2016, by the labels Island and PMR Records. 2016 was a year where the duo were developing their skills of writing material while on the road. Its title is named after the 1952 Eddie Jefferson song "Moody's Mood for Love". They did not have enough material to produce a full-length album, but wanted to have a record released for the summer of that year regardless. Featuring collaborations with Eats Everything and Al Green, the album garnered generally mixed to positive reviews from music critics, some calling it a significant improvement over the duo's second studio LP Caracal (2015). Upon its release, the album landed at number 80 on the Australian Singles Chart.

<span class="mw-page-title-main">Thore Swanerud</span> Swedish musician

Thore Swanerud was a Swedish jazz pianist, vibraphonist, arranger, conductor, and composer. He was born in Stockholm and died in the same city.

"Parker's Mood" is a piece of music originally performed by Charlie Parker as an improvised blues in 1948. Vocalese lyrics were later written and recorded by King Pleasure and Eddie Jefferson.

George "Teacho" Wiltshire was a Barbadian-born American R&B pianist, bandleader, arranger, A&R man, and songwriter, who had success in the 1950s and 1960s with musicians including Annie Ross, Sister Rosetta Tharpe, the Isley Brothers and the Drifters.

References