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| The Complete Recordings, Volume 1 - 1945-1948 |
| Wild Bill Moore |
| első megjelenés éve: 2004 |
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| (2004)
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CD |
| 5.000 Ft
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| 1. | Home Coming Blues
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| 2. | Boulevard Boogie
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| 3. | Wild Bill
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| 4. | Wild Bill
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| 5. | Unfinished Bopera
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| 6. | What Is This Thing Called Love?
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| 7. | Harlem Parade
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| 8. | Bubbles
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| 9. | Swingin' for Pappy
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| 10. | Bongo Bounce
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| 11. | South Parkway Hop
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| 12. | Rocking with Leroy
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| 13. | We're Gonna Rock
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| 14. | Top and Bottom
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| 15. | Dubble Bubble
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| 16. | Rock and Roll
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| 17. | Bright Light Blues
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| 18. | Primavera
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Jazz / R&B
Wild Bill Moore
Duke Henderson - Vocals
Floyd Taylor - Piano
George "Happy" Johnson - Trombone
Herman Hopkins - String Bass
Ken Kennedy - Drums
Leroy Gray - String Bass
Milt Buckner - Piano
Paul "Hucklebuck" Williams - Sax (Baritone)
Philip Gilbeaux - Trumpet
Rabon Tarrant - Drums
Reetham Mallett - Drums
Russ Freeman - Piano
T.J. Fowler - Piano
Teddy Buckner - Trumpet
Wilbert Baranco - Piano
Texas tenor saxman Wild Bill Moore was a big-toned (somewhat lavish) tenor player, in the general style of Chu Berry.
He was first noticed in Chicago in 1944, the year he made his first recording with Christine Chatman (Decca). During this period he played with several major names, including Red Allen.
He relocated to Los Angles, where he really began to build a name for himself from about 1945 to 1947, recording with Jack McVea, Big Joe Turner, Duke Henderson, Shifty Henry, Dexter Gordon, and Wardell Gray.
Late in 1947, Moore relocated to Detroit, working there with, among others, Paul Williams and King Porter. He remained in the Detroit area until the mid-'70s, made two albums on Jazzland as a leader, and worked in the music scene there, especially with Motown artists like Marvin Gaye.
He returned to the Los Angeles area, working some with Big Joe Turner. He died in August of 1983.
All the informations about recording dates and personnel are included in the booklet.
* Joseph Scott - Source Material
* Neil Slaven - Liner Notes
* Peter Drew - Liner Notes
Tenor saxophonist Wild Bill Moore was one of the premier bar-walking, foot-stomping, honking-est players to strut the scene from his native Detroit to Los Angeles and back. His time after Louis Jordan and Jack McVea, and above Earl Bostic, set the pace for many a gutbucket player from Texas to follow in his footsteps during the '50s. He wasn't the first, but may have been the best of them all for his time. This first of two volumes of his sides from 1945-1948 has him involved in straight loose bop-tinged jazz, jump blues, boogie-woogie, and an occasional novelty tune produced for the Apollo, Bop, Savoy, and Modern labels. Moore also wrote the bulk of these tunes. The L.A. sessions from 1945 and 1948 feature bands with either trumpeter Teddy Buckner or pianist Milt Buckner, but not together. Highlights include the still relevant "Homecoming Blues," sporting the lyric "I just got back from fighting overseas" sung by Duke Henderson; the more carefree Louis Jordan-esque "Dubble Bubble"; and "Bright Light Blues." Controversy surrounds "Rock and Roll," perhaps the first reference to this as a genre but credited to Scatman Crothers as vocalist, although it is suggested by the liner notes writers that Moore is doing the actual singing. An anomaly is the final selection, "Primavera," where disjointed, near wacky Latin, R&B, and swing rhythms clash and fight for supremacy, urged on by a big ol' yahoo. The 1947 recordings are marred by bad sound, but include a jam of "Perdido" called "Wild Bill" and the standard "What Is This Thing Called Love?," featuring the outstanding piano playing of West Coast cool jazz cat Russ Freeman. The most precious music on this collection consists of the recordings done in Detroit, also circa 1947. They include Moore hits like the good-swinging "Bubbles" and boogie-oriented "We're Gonna Rock," fun tunes like the tango-ish "Bongo Bounce," the hard bopper "Rocking with Leroy," and the more seriously driven "Swingin' for Pappy." Baritone saxophonist Paul Williams is a perfect foil for Moore, and should get due credit for being as formidable as the leader. Moore also shows a softer side on the cool bluesy Gene Ammons-styled "Top and Bottom" and the nearly sedate "South Parkway Hop." Famous Detroit bandleader T.J. Fowler is also heard prominently on piano. Sidebar activity as a light heavyweight prizefighter, a stint in the Army, and numerous jazz gigs kept Moore busy for a long while, but it is still puzzling why his name is not mentioned more often as a forefather of demonstrative sax playing. Perhaps this, and a second volume of complete recordings, will right that wrong.
--- Michael G. Nastos, All Music Guide
Wild Bill Moore
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Jun 13, 1918 in Houston, TX
Died: Aug 01, 1983
Genre: R&B, Jazz
Styles: R&B, Urban Blues, Soul-Jazz, Motown, Jump Blues, Mainstream Jazz, Vocal Jazz
Texas tenor saxman Wild Bill Moore was a big-toned (somewhat lavish) tenor player. Moore was born William M. Moore on June 13, 1918. While originally an alto player, Moore switched to tenor in the early '40s, influenced by the great Chu Berry. He was first noticed in Chicago in 1944, the year he made his first recording with Christine Chatman (Decca). During this period he played with several major names, including Red Allen. He relocated to Los Angeles, where he really began to build a name for himself from about 1945 to 1947, recording with Jack McVea, Big Joe Turner, Duke Henderson, Shifty Henry, Dexter Gordon, and Wardell Gray. Late in 1947, Moore relocated to Detroit, working there with, among others, Paul Williams and King Porter. He remained in the Detroit area until the mid-'70s, made two albums on Jazzland as a leader, and worked in the music scene there, especially with Motown artists like Marvin Gaye. He returned to the Los Angeles area, working some with Big Joe Turner. He died in August of 1983.
--- Michael Erlewine, All Music Guide |
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