JAZZ REVIEW : Moody Saxophone in Good Spirits

James Moody, a San Diegan these days, came to town Tuesday for a stint at Catalina’s. Any visit by the veteran saxophonist, who won his be-bop spurs with Dizzy Gillespie, is an occasion for rejoicing, and on his opening night he was in particularly good spirits, playing “Happy Birthday to You� for his daughter and dedicating the set to his wife.

Moody is one of a handful of artists who can claim equal proficiency on three instruments. His opener was a masterful investigation of “Sweet and Lovely,� the title number of his latest album, played with vigor and much double-time inspiration on alto saxophone.

For “Autumn Leaves� he switched to tenor, his main medium of expression during the early years. His solo outing was lengthy and intricate, with serpentine lines that gained slowly in intensity. Jimmy Robinson, subbing for Moody’s regular drummer, became a little too obtrusive, though his overall performance was beyond reproach.

The only problem in the quartet was Marc Cohen’s excessive use of the synthesizer. Though it served well backing Moody on a melodic statement, its employment for solos rapidly became tiresome and reduced the quartet’s rhythmic impact. Todd Coolman on bass helped to pick up the slack.

Moody’s virtuosity on flute, which was a later addition to his artillery, was sensitively displayed as he eased into “Confirmation� at a tempo slow enough to remind us what a basically charming melody Charlie Parker wrote.

Flute fever raged again on “Cherokee� with Cohen in better form as he took two choruses on piano, the first in half-time. Cohen also contributed the only original composition, “Skippin’,� with the leader back on tenor.

If the group backing him at Catalina’s does not represent the ultimate in settings, it is still worthwhile to investigate a five-star Moody with a three-star band. He continues through Sunday.