What a Difference Maturity Can Make in a Saxophonist

A jazz musician in the full bloom of maturity is a different creature than a rising, wet-behind-the-ears upstart, as San Diego saxophonist James Moody proves on his new album, “Honey,” his nickname for wife, Linda.

The main difference is brevity. Since starting out with Dizzy Gillespie in the late 1940s, Moody has proved himself time and again: in his own small groups, with the Philip Morris All-Star bands, with Eddie Jefferson, Charles Mingus, Dexter Gordon and others. At 66, he is an established master of tenor, alto and soprano saxes and flute; he doesn’t have to prove himself, so he never overdoes it.

Moody’s playing on “Honey” is wonderfully melodic, and he strikes just the right balance between slow, restrained, minimalist sections and explosive flurries that bring the music to an emotional head.

Moody’s in love--he met his wife in 1988 and married her in 1989--and his playing shows it. The music on the new recording is decidedly romantic. Linda Moody gets credit for the title track and for “Look Into My Eyes,” both based on light melodies she hums. Moody’s steady pianist, Marc Cohen, contributed three tunes (though he doesn’t play on this album) and Moody selected four of his own favorite swooners: Rodgers and Hammerstein’s “It Might As Well Be Spring,” George and Ira Gershwin’s “Someone to Watch Over Me,” Vernon Duke and Ira Gershwin’s “I Can’t Get Started” and Leigh Harline and Ned Washington’s “When You Wish Upon a Star.”

Moody’s buoyant sense of swing and full-bodied sense of humor make this session an unpretentious gem. Moody is not afraid of boring listeners with riffs he finds interesting, turning them over and over with subtle changes in nuance.

His understated, romantic modes are offset by more fiery work on cuts such as “Look Into My Eyes,” a duo with Moody’s alto smoldering red against Todd Coolman’s cool blue bass lines, and “Moody’s Blues,” where Moody lays out some sinewy soprano lines.

For this recording, pianist Kenny Barron filled in for Cohen, Moody’s regular pianist, and Barron contributes a tight, sparkling, but too-brief solos on “Honey” and “Moody’s Blues,” plus warm, understated backdrops for Moody’s horns on other cuts. Akira Tana on drums rounds out the group.

Moody moves easily between tenor, alto and soprano saxophones. About the only disappointment is that he doesn’t play any flute--he recorded a couple of flute tunes, but decided they didn’t fit with this project’s direction.

Next week, Moody leaves for a tour of the East Coast, including a stop at the Blue Note in New York with Lionel Hampton. He’ll pay his annual visit to Elario’s from June 26 to 30.

In the wake of the demise of All That Jazz in Rancho Bernardo last week, a newcomer has sprung up.

On Thursday, Steve Satkowski, former talent coordinator for Elario’s, will open Jazz Note in the former Diego’s Loft above Diego’s restaurant in Pacific Beach.

Papa John Creach will be the initial act, playing Thursday through Sunday, and trumpeter Harry (Sweets) Edison will open a two-week stay May 30. Satkowski is also talking to Mose Allison, Jimmy Witherspoon and Charlie Haden about dates.

Satkowski believes a niche in the local jazz market has opened since Rob Hagey took over Satkowski’s job at Elario’s last year and, in search of a broader audience, diversified the entertainment beyond straight-ahead jazz. Elario’s now features blues, plus occasional pop jazz and avant-garde, such as last week’s appearance by saxophonist Henry Threadgill.

“I see the Jazz Note filling the void, booking the artists who were successful for me in the past (at Elario’s) but who no longer find themselves playing in San Diego,” Satkowski said.

But the promoter may have a tough go of it. His main competitors have a major advantage. Elario’s (atop the Summer House Inn in La Jolla), the Horton Grand Hotel and U.S. Grant Hotel downtown all have hotel rooms to lodge performers. The cost of putting up three or four musicians for a night can be significant.

Also, the other clubs represent only a small portion of a hotel’s operation. If the jazz rooms lose money some weeks, other hotel revenues can cover the difference.

Also, Diego’s Loft is on the small side, with a capacity of about 80 people, versus 120 for Elario’s or 300 at the Grant. Satkowski plans to do two shows a night, Thursday through Sunday, charging $5 on weeknights and $7.50 on weekends. He says he doesn’t need a full house to break even, but he will probably have to come close to packing the place to cover talent fees lodging and sound-equipment rental.

Even before it opens, the Jazz Note is heating up the local scene, with more friction sure to follow.

Hagey was miffed that Creach--who has built a local following through regular appearances at Elario’s over several years, and who just played the club in March--didn’t contact him before booking with Satkowski. Witherspoon and Allison have also traditionally played Elario’s when they visit San Diego.

Satkowski will be testing the market’s saturation level, too. Edison played the U.S. Grant last Saturday and Allison appeared at Elario’s in January.

RIFFS: Saxophonist Courtney Pine’s shows May 23-26 at Elario’s have been canceled. Pine is being replaced by blues artists. . . .

Mainstream jazz prodigies the Harper Brothers, who can hold their own with the more famous Marsalis brothers, open five nights at Elario’s on Wednesday, with shows at 8:30 and 10:30 each night. . . .

Benny Holman’s Big Band appears at San Diego City College Theater tonight at 8.