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Línea 17: == Biografía == Nacido en [[Savannah]] ([[Georgia]]), la infancia de James Moody transcurrió en [[Newark]], donde descubrió su interés por la música y por el saxofón (inicialmente el [[axo alto\|alto]], luego el [[saxo tenor\|tenor]]) con 16 años. Durante la [[II Guerra Mundial]] participa en la banda del Ejército del Aire estadounidense, formado íntegramente por personas de color. En [[1946]] es convocado a una audición de [[Dizzy Gillespie]], quien dirigía en la época una de las primeras [[big band]]s que ejecutaban la nueva música conocida como [[bebop]], pero no la pasa. Gillespie acaba contratanto a Moody unos meses más tarde y el saxofonista no tarda en atraer la atención del público y la crítica con un breve pero energético solo en "''Emanon''", una composición de Gillespie. <ref name="nyt">{{cita web \|url = http://www.nytimes.com/2010/12/11/arts/music/11moody.html?_r=1\|título= James Moody, Jazz Saxophonist, Dies at 85\|autor=PETER KEEPNEWS\|fecha= 10 de diciembre 2010\|editorial= nytimes.com\|idioma= inglés \|fechaacceso=5 de febrero de 2011}}</ref> <!-- ~~Last month, Mr. Moody disclosed that he had pancreatic cancer and had decided against receiving chemotherapy or radiation treatment.~~ James Moody — he was always Moody, never James, Jim or Jimmy, to his friends and colleagues — was born in Savannah, Ga., on March 26, 1925, to James and Ruby Moody, and raised in Newark. Despite being hard of hearing, he gravitated toward music and began playing alto saxophone at 16, later switching to tenor. He played with an all-black Army Air Forces band during World War II. After being discharged in 1946, he auditioned for Gillespie, who led one of the first big bands to play the complex and challenging new form of jazz known as bebop. He failed that audition but passed a second one a few months later, and soon captured the attention of the jazz world with a brief but fiery solo on the band’s recording of the Gillespie composition “Emanon.” <ref name="nyt"></ref> Mr. Moody’s career was twice interrupted by alcoholism. The first time, in 1948, he moved to Paris to live with an uncle while he recovered. He returned to the United States in 1951 to capitalize on the success of “I’m in the Mood for Love,” forming a seven-piece band that mixed elements of modern jazz with rhythm and blues. After a fire at a Philadelphia nightclub destroyed the band’s equipment, uniforms and sheet music in 1958, he began drinking again and checked himself into the Overbrook psychiatric hospital in Cedar Grove, N.J. After a stay of several months, he celebrated his recovery by writing and recording the uptempo blues “Last Train From Overbrook,” which became one of his best-known compositions.<ref name="nyt"></ref> Línea 33 ⟶ 29: The National Endowment for the Arts named him a Jazz Master in 1998. His last album, “Moody 4B,” was recorded in 2008 and released this year on the IPO label; it earned a Grammy nomination this month. Last month, Mr. Moody disclosed that he had pancreatic cancer and had decided against receiving chemotherapy or radiation treatment.. Mr. Moody, who was divorced twice, is survived by his wife of 21 years, the former Linda Peterson McGowan; three sons, Patrick, Regan and Danny McGowan; a daughter, Michelle Moody Bagdanove; a brother, Louis Watters; four grandchildren; and one great-grandson.<ref name="nyt"></ref> __________ Línea 46 ⟶ 42: Su estilo de músico afincado en los terrenos del bebop, se ha ido edulcorando con el tiempo y a ello contribuyó bastante el particular apego al ultimo instrumento que adoptó: la flauta, con la que obtiene un particular y original sonido y convirtiéndose en uno de los grandes virtuosos de ese instrumento en el jazz. De su extensa y selecta discografía, podemos destacar los álbumes: "Moody's Mood for Love" (GRP, 1956) junto al cantante de vocalese, Eddie Jefferson; y el extraordinario "Don't Look Away Not" (Prestige, 1969) con el mismo cantante y Barry Harris al piano. <ref name="ayb">{{cita web \|url = http://www.apoloybaco.com/jamesmoodybiografia.htm\|título= James Moody\|autor=\|fecha= \|editorial= apoloybaco.com.com\|idioma= español \|fechaacceso=5 de febrero de 2011}}</ref> Mr. Moody, who began his career with the trumpeter Dizzy Gillespie shortly after World War II and maintained it well into the 21st century, developed distinctive and equally fluent styles on both tenor and alto saxophone, a relatively rare accomplishment in jazz. He also played soprano saxophone, and in the mid-1950s he became one of the first significant jazz flutists, impressing the critics if not himself. The self-effacing humor of that comment was characteristic of Mr. Moody, who took his music more seriously than he took himself. Musicians admired him for his dexterity, his unbridled imagination and his devotion to his craft, as did critics; reviewing a performance in 1980, Gary Giddins of The Village Voice praised Mr. Moody’s “unqualified directness of expression” and said his improvisations at their best were “mini-epics in which impassioned oracles, comic relief, suspense and song vie for chorus time.” But audiences were equally taken by his ability to entertain.<ref name="nyt">{{cita web \|url = http://www.nytimes.com/2010/12/11/arts/music/11moody.html?_r=1\|título= James Moody, Jazz Saxophonist, Dies at 85\|autor=PETER KEEPNEWS\|fecha= 10 de diciembre 2010\|editorial= nytimes.com\|idioma= inglés \|fechaacceso=5 de febrero de 2011}}</ref>

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