COVER -> POWERSSOUND
Michael Moore has spent 34 years as a professional musician. The bassist began his journey toward stardom when he left Cincinnati in 1966 to join the Woody Herman Band, which long served as a training mechanism for youngsters who had developed a professional efficiency with their chosen instruments.
Bob Powers Moore moved to New York City a couple of years later, and soon was recording with pianist Marion McPartland, now best known for her long running series of public radio shows called "Piano Jazz." In the mid-70s, Moore moved to the Braff-Barnes Quartet, another superb training ground for working in straight-ahead jazz.
For two decades, Moore and partner Gene Bertoncini have worked off and on at Zinno in New York's Greenwich Village. While maintaining a full performance schedule, Moore has taught at the Eastman School of Music, New York University and the University of Bridgeport.
Recorded With The Best
All the while, Moore has been working frequently on various recording sessions. His partners on their dates have included some of the most illustrious names in jazz, such as Bill Evans, Freddie Hubbard, Stan Getz, Chet Baker, and many, many more.
At long last, Moore has been given the responsibilities as leader on a recording date. The honor has been a very long time in coming, but the wait has been worth it. "Michael Moore and His Trio: The History of Jazz, Volume 1" (Arbors Records) will surely turn out to be on many critics best-of-the-year selections for 2000.
Joining Moore on this momentous occasion are the spectacular clarinetist Ken Peplowski. Besides his stellar work on clarinet, Peplowski plays tenor saxophone on a couple of the selections. Backing up Moore and Peplowski is the agile but not bombastic Tom Melito on drums. Heres a percussionist who knows exactly when to make himself known and when to provide a felt--but-not heard presence behind the drum kit.
It's Tasty Music
What transpires here is a model of taste, tranquillity, and terseness, words which don't seem likely to appear in a jazz CD review. But these three gentlemen are masterful in managing to swing their hearts out while not causing the neighbors to scream at you to turn down the volume. This is delightful music, captured with finesse and fortitude.
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Event # 216: DYNAMITE
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Moore's work on the venerable acoustic bass is as solid as any jazz fan could want, yet Moore's delicate touch shows his complete understanding of the charts chosen to display the best efforts of these adept gentlemen.
The choice of songs ranges from the lesser-known to the venerable standards. Several jazz classics are essayed, including Charlie Parker;s "Donna Lee" and the Dizzy Gillespie masterpiece, "A Night in Tunisia." An especially listenable "Monk's Dream" plays tribute to that piano master.
Peplowski, whose name is increasingly becoming well-known in the jazz community, seems incapable of sounding a piercing note on his clarinet. His playing is both spectacular and comforting. He never seems to be showing off his technical skills, but he certainly has such abilities in full force. Peplowski's work on tenor sometimes contains just a bit too much of fuzz for my personal taste, however.
Drummer's Work Is Great
Melito is one of the those drummers who always seems in accord with his fellow players. He doesnt show off, but he's constantly busy in supplying glorious fillers that help to make this recording sound at times like a full-fledged band, yet without getting boisterous or bombastic.Everybody at one time or another does their version of "Body and Soul." The one turned in by Moore, Peplowski and Melito makes that old war-horse sound like a brand-new chart. John Coltrane's "Wise One" will make you feel like the wise one for having purchased this wondrous album.
I have just one more comment: Wow!
