by Dave Nathan 　　Ahmad Jamal's 1960s trio, with 　　Israel Crosby 　　on bass and 　　Vernell Fournier 　　on drums, was, to some, one of the more influential small groups in jazz. To others, his work was just a mere cut above lounge playing. Recorded almost two years to the day after his most popular trio album 　　At the Pershing 　　, Happy Moods is a program of mostly standards, a flirtation with a classical piano piece and two Jamal originals. Playing with his patented sneaky left-hand voicings and his jingling right hand, interspersed with block chords all within a lean framework, the performances offered by this album are representative of Jamal's work of the period. He takes a piece of fluff like "Little Old Lady" and transforms it into a fugue replete with the counterpoint that personifies this classical form. An up-tempo "You'd Be So Easy to Love," 　　highlighting 　　Vernell Fournier 　　's brushes, is tastefully garnished with runs and chords borrowed from fellow Pittsburgher 　　Erroll Garner 　　.Billy Strayhorn 　　's "Raincheck" features heady arpeggios as well as quotes from "I'm Beginning to See the Light." All very good stuff and more. 　　With regard to arguments about Jamal's rightful position in the jazz pantheon, including the extent of his influence on others, Happy Moods does nothing to diminish the position of those who believe that the pianist deserves a considerably higher spot than he is usually accorded. This album begs for transfer to and reissue as a CD.