Craft Mines the Vaults: New Moodsville Titles from Red Garland, Frank Wess, and Coleman Hawkins

When it comes to independent record labels of the past that ventured across such a broad musical landscape, few could rival the efforts of Bob Weinstock and his Prestige imprint. Recognizing the advantages of appealing to multiple markets, Weinstock expanded well beyond his core jazz catalog, issuing rare blues titles through the Bluesville subsidiary and turning his attention to the elder statesmen of early jazz with the Swingville series. He even capitalized on the early-'60s folk revival with the Folklore imprint, which featured albums by artists such as Ramblin' Jack Elliott and Dave Van Ronk.

In 1960, Weinstock followed the burgeoning easy-listening trend by establishing Moodsville, a series that brought Prestige artists into Rudy Van Gelder's studio to record programs dominated by ballads, blues, and slow-burning numbers. Yet unlike many of the mass-produced mood-music records flooding the market at the time, Moodsville retained the improvisational spirit at the heart of jazz. Producers such as Esmond Edwards ensured that the blues and spontaneous interplay remained at the forefront, allowing these sessions to function as genuine jazz performances rather than mere background music.

Craft Recordings has now teamed with Quality Record Pressings (QRP) to revisit the catalog's 39 albums, recorded between 1960 and 1963. Glossy tip-on jackets, pristine pressings, and all-analog mastering by Matt Lutthans make this an especially inviting series for collectors and newcomers alike.

Red Garland
Red Garland Trio Plus Eddie "Lockjaw" Davis
Craft Recordings
1960/2026

With its colorful block-letter graphics, the first volume immediately announces its Moodsville pedigree. Red Garland is joined by bassist Sam Jones and drummer Art Taylor, with tenor saxophonist Eddie "Lockjaw" Davis appearing on just three of the eight selections. The somewhat misleading billing should hardly be viewed as a drawback, however, as the entire session provides an ideal template for exploiting the relaxed atmosphere that defined the series. Garland was a master at establishing a mood without sacrificing the rhythmic vitality of jazz, and the opening "We'll Be Together Again" sets the tone beautifully, with Davis contributing his breathy tenor sound as an irresistible bit of ear candy.

Davis' signature opening glissando introduces "When Your Lover Has Gone," after which Garland's distinctive block chords provide the foundation for an especially assured piano solo. "Softly, Baby," the other selection featuring Davis, benefits from Van Gelder's subtle use of reverb, which gives the saxophonist's tenor an appealing warmth and depth without overwhelming the intimate character of the performance.

The remaining tracks by Garland and his trio are anything but fluff. "The Red Blues" picks up the pace for a vigorous, blues-drenched romp, demonstrating that the easygoing premise of Moodsville never required its musicians to sacrifice swing or improvisational fire. Indeed, the album's greatest strength is the way Garland and his colleagues manage to preserve the expressive essence of jazz while embracing the slower tempos and intimate atmosphere that gave the series its identity.

Frank Wess
Moodsville Vol. 8
Craft Recordings
1960/2026

One of the unacknowledged masters of the full range of the woodwinds, Frank Wess leads one of the finest sessions in the Moodsville series, backed by a quartet featuring Tommy Flanagan, drummer Bobby Donaldson, and Basie bandmate Eddie Jones on bass. The focus here is largely on light swing, with Alec Wilder's fabulous "It's So Peaceful in the Country" among four tracks that showcase Wess' mercurial flute work. The remaining flute selections explore a range of moods, from the rhumba pulse of "Star Eyes" to the medium-tempo swagger of "I See Your Face Before Me."

On tenor saxophone, Wess can be deeply romantic, as he demonstrates on "Rainy Afternoon." His breathy opening phrases gradually give way to an expressive solo that warms the performance considerably. Flanagan is an exceptional accompanist throughout, displaying the same refined touch in his solos. "Gone with the Wind" maintains the album's sunny atmosphere, with Wess delivering more fine storytelling while Donaldson provides delicate support on brushes.

The mood turns decidedly smoky on "Stella by Starlight" and "But Beautiful," where Wess and Flanagan seem almost telepathic in their shared storytelling. Their interplay is relaxed but remarkably attentive, each musician leaving just enough space for the other to shape the mood. It's this combination of understated swing, lyrical playing, and intuitive interplay that makes the session such a rewarding entry in the Moodsville catalog.

Coleman Hawkins
The Hawk Relaxes
Craft Recordings
1961/2026

Having achieved considerable visibility early in his career, tenor saxophonist Coleman Hawkins found himself enjoying something of a renaissance in the early to mid-1960s. After recording several albums for Prestige in the late '50s, Hawkins' robust tenor was tailor-made for the Moodsville imprint, where he ultimately recorded five albums between 1960 and 1962. Then, he would waste little time joining the Impulse Records fold, recording four more albums through 1965, just four years before his death.

The second of his five Moodsville dates, The Hawk Relaxes pairs Hawkins with a stellar cast of sidemen, including Kenny Burrell, who would later share billing with Hawkins on Bluesy Burrell (Moodsville, 1962). Those familiar only with drummer Andrew Cyrille's avant-garde leanings may be surprised by the empathetic and deeply musical work he contributes here. The often-overlooked pianist Ronnell Bright draws on the tradition of players such as Hank Jones and Tommy Flanagan, providing rich, understated chordal support that can be heard to particularly good effect on "Under a Blanket of Blue" and "Just a Gigolo."

A Latin-tinged reading of "Speak Low" features the buoyant bass of a young Ron Carter, already an accomplished player well beyond his years. Much like Frank Wess, Hawkins' blustery tenor approach was tailor-made for this kind of relaxed session, and he never sounds as though he has anything to prove. Instead, he settles comfortably into the material, balancing his unmistakable power with a surprising degree of warmth and restraint. There isn't a dull moment to be heard on this superb album

Tracks and Personnel

Red Garland Trio Plus Eddie "Lockjaw" Davis

Tracks: We'll Be Together Again; Stella By Starlight; I Heard You Cried Last Night; Softly Baby; When Your Lover Has Gone; Wonder Why; Blue Room; The Red Blues.

Personnel: Red Garland: piano; Sam Jones: bass; Art Taylor: drums; Eddie "Lockjaw" Davis: tenor sax..

Moodsville Vol. 8

Tracks: It's So Peaceful in the Country; Rainy Afternoon; Star Eyes; Stella by Starlight; But Beautiful; Gone With the Wind; I See Your Face Before Me.

Personnel: Frank Wess: tenor sax and flute; Tommy Flanagan: piano; Eddie Jones: bass; Bobby Donaldson: drums.

The Hawk Relaxes

Tracks:

Personnel: Coleman Hawkins: tenor sax; Kenny Burrell: guitar; Ronnell Bright: piano; Ron Carter: bass; Andrew Cyrille: drums.