Week #1: George Garzone-“Moodiology”

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I’ve mentioned George Garzone’s influence on me numerous times in the past but have never made a specific recommendation in regards to his recorded output. “Moodiology” is an extremely well-balanced collection of material that showcases both his “post-Coltrane” style, as well as his sensitivity toward ballad interpretation. Obviously, I was considerably influenced by Garzone’s triadic super-imposition and angular line approach but what really struck me was his understanding of rhythmic differentiation. For example, I often notice that he contrasts an “altered” portion of a line by playing a more straightened out sounding passage based on the quarter note triplet. I actually discovered this album about half a decade before I would embark on my own foray into chromatic harmony. Also, I have never even studied Garzone’s “Chromatic Triadic” theory at all, although I suspect that it may parallel my Triad Pair approach in some way. For me, the stand out track is George Gershwin’s “Summertime.” Garzone’s solo is such a study in extended harmony and honestly, I probably would have transcribed it note-for-note if he had chosen to play it on Tenor. One more thing – if you listen closely, you can hear some pretty rough punch-ins on Garzone’s intro solo.-Tone

Track listing:
• Moodiology (Prologue)
• Hey, Open Up
• Farewell To Athens
• Summertime
• Simple
• Naima
• The Other Mingus
• I’ll Remember April
• Soul Eyes
• Plaka
• Moodiology (Epilogue)

Personal:

• George Garzone-Tenor Saxophone, Soprano Saxophone
• Douglas Yates-Alto Saxophone
• John Lockwood-Bass
• Kenny Werner-Piano
• Mike Mainieri-Vibes
• Claire Daly-Baritone Saxophone
• Bob Gullotti-Drums

Label: NYC Music
Year: 1999

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