The
tenor saxophonist Brew Moore (Milton Aubrey Moore) was born in
Indianola, Mississippi on March 26th 1924. He showed musical prowess at
an early age. As a child of 7 he started playing popular tunes on a toy
harmonica that he had received as a gift for his birthday. After a few
years he played in his junior high school’s band and after graduating he
entered Mississippi University to study music but left after only one
semester to pursue a career as a tenor saxophonist. He arrived in New
Orleans nearly broke but was quickly hired by the Fred Ford’s
Dixielanders. For the next six years he played with different local
bands in both New Orleans and Memphis. In 1948 he moved north to New
York and started his own quartet. Although this remained his favorite
format through out his life, he also briefly played in Claude
Thornhill’s orchestra in 1949. In addition he played with different
sextets around town led by Kai Winding, Machito and Howard McGee to name
a few. His first appearance on record as a sideman was with Howard
McGee entitled Howard McGhee's All Stars. For the next few years he
continued to record as a sideman with the different groups and sat in on
jam sessions with Charlie Parker in New York. In 1953 Brew Moore moved
to San Francisco.
His firs record as a leader The Brew Moore Qunitet was released in 1955.
In
1959 due to alcoholism he fell seriously ill but recovered and in 1960
went on a tour of the Far East. Shortly after that, in 1961, he
permanently moved to Scandinavia and lived in both Sweden and Denmark.
He remained there the rest of his life, except for a brief time spent in
the Canaries, working regularly in local clubs, touring and recording;
he led 9 recording session during his dozen years in Scandinavia. After
finishing playing at a Copenhagen club on March 19th 1973, a few days
shy of his 49th birthday, Brew Moore fell down a flight of stairs. He
died on his way to hospital.
From the Jazz Profestional
Long
after they die the majority of jazzmen are still remembered. Mention
the names of Louis Armstrong, Count Basie, Sidney Bechet, Duke
Ellington, Lester Young, Benny Goodman, Stan Kenton to the man in the
street and he will more than likely reply “Jazzmen weren't they?” But
ask the average jazz lover, “Who was Brew Moore?” and you'll probably
receive a blank stare.
One can hardly blame them, because Moore
was unknown to the majority of jazz buffs, due to the fact that very
little of his work has been re-issued. If one were prepared to travel
the length and breadth of the country it might be possible to track down
a few of his recordings, but one would certainly have to search
exclusively at the jazz specialist record shops.
Brew Moore was
probably more heavily influenced by Lester Young than any other tenor
saxophonist. Stan Getz, Zoot Sims, Al Cohn, Herbie Steward, Bill Perkins
and many others may have begun their careers by emulating Lester Young,
but went on to develop their own styles later on. This does not mean
that Brew intentionally copied Young but just felt comfortable and at
ease with that particular sound.
Moore never became a member of
Woody Herman's 'Four Brothers' sax section, as did Stan Getz, Zoot Sims,
Herbie Steward, Al Cohn and baritone saxophonist Serge Chaloff. One can
only assume that there was never a vacancy at the appropriate moment,
or perhaps he didn't want the job, feeling insecure or trapped when
touring with a big band for any length of time. Big Bands were not
Moore's forte although he was with the Claude Thornhill band for
approximately six months and also recorded with Machitos Afro-Cubists.
He felt happier in small band surroundings or leading his own quartet.
Perhaps
one should begin with the conception of the boy from the small southern
town of Indianola, Mississippi, where Milton Aubrey Moore was born on
March 26th 1924. When he was seven years old his mother gave him a
harmonica for his birthday. He soon taught himself to play the popular
tunes of the day and by the time he was eleven he was a member of the
local junior high school band.
At the age of eighteen he spent a
very short time at Mississippi University, leaving after only a few
months. He now possessed a secondhand tenor saxophone, arrived in New
Orleans with only three dollars, and quickly found his first
professional engagement with Fred Ford's Dixielanders.
Moving
from the south to New York in 1943, Moore formed his own quartet which
was to be his favourite format during the coming years. As already
mentioned, Brew played briefly with the big band of Claude Thornhill,
who, like Woody Herman, was delving into the be-bop cult during the
mid-forties.
Brew Moore was a regular participant at the Roost
and Bop City where he played with trombonist Kai Winding's sextet, which
spotlighted Gerry Mulligan on baritone sax, and cut several recordings:
Crossing the Channel, Sleepy Bop, Broadway and Waterworks. The first
two numbers were issued on American Roost, the last one on the New Jazz
label. Moore also recorded with a sextet led by the trumpet player,
Howard McGee, that also featured J.J. Johnson on trombone. Apart from
the standard I'll Remember April the numbers recorded were mostly
originals. Fuguetta, Fluid Drive Donellon Square, Meciendo, and Lo Flame
were all originally recorded on the Blue Note label.
Moore did
eventually record with the Four Brothers team, Getz, Sims and Al Cohn,
plus another 'Lester' man, Allen Eager. The title of the album was
Battleground. It gives one an insight as to how these tenor saxophone
players related to each other musically. They were entirely compatible.
Whenever
Charlie Parker came to town, Brew Moore was always happy when invited
to sit in on his jam sessions. Everything seemed to be happening around
the clubs in Greenwich Village, New York, in the '50s. Moore's was
always a familiar face, when playing with the jazz greats or featuring
himself with a quartet.
When the modem jazz scene faded for a
while during the mid-fifties in New York, Brew managed to get a lift in
an old Buick with country and western men, Billy Faier, Jack Elliott and
Woody Guthrie. They stopped off in Texas to buy some hamburgers and
alcohol. After the meal, Faier suggested that Brew should play something
with them. Moore did not care for country music. He remarked, “I don't
play in your style, it wouldn't mix.” Billy said, “We'll play some
blues.” After he heard Moore's version of the blues Guthrie refused to
have anything else to do with him, so Moore left to catch the bus to San
Francisco.
The atmosphere of San Francisco appealed to him, both
musically and socially. He made many appearances at the famous Black
Hawk, a favourite nightspot with the jazz people. On some occasions,
Moore played with a Dixieland band led by Bob Meilke's Bearcats, which
of course wasn't his milieu, but as he pointed out to a journalist, “I
go where the work is.”
In 1959, through overwork and alcoholism,
Moore became seriously ill, but quickly recovered and resumed work to
play on a Matson steamer heading for the Far East. Shortly after he
toured this exotic part of the world. It was now drawing close to 1961
and numerous top jazz musicians were leaving the States for Scandinavia
and Europe. Sidney Bechet, Colman Hawkins, Benny Carter, Bud Powell,
Kenny Clark, Oscar Pettiford, Teddy Wilson, Stan Getz, all found the
Europeans very receptive to jazz generally.
Moore found no
difficulty in obtaining work in Sweden and Denmark and alternated
between the two countries. He surrounded himself with the best musicians
in Scandinavia and with the many Americans who had taken up residency
there.
He recorded a fine session in Denmark in 1962, with a
line-up that consisted of himself on tenor, Sahib Shibab alto saxophone,
Lars Gullin baritone sax, Louis Hjuland, vibes, Ben Axen piano,
Niels-Henning Orsted Pedersen bass and William Schiopffe, drums.
After
a few years Moore took the opportunity to go further south, to the
Canaries, where it was certainly much warmer and less expensive than
living in Scandinavia. He returned in 1970 to Sweden and formed a fine
quartet, consisting of himself on tenor sax, Lam Sjostens, piano, Sture
Norden bass and Frank Noren drums.
The album was released on
Sonet records, catalogue number SNJF624. It features a wide selection of
material. The up-tempo of Lars Sjosten's “Kong” (yes, not 'King')
Fredrik's Blues is a medium to fast tempo number, the same applies to
Bait, composed by the late Tony Fruscella. On the album is Stockholm
Dews, the last number to be heard and composed by Brew.
Moore was
once again invited back to Denmark and after a successful gig in
Copenhagen on March 19th 1973, fell down a flight of stairs. He died in
the ambulance on the way to hospital. He was just one week short of his
forty-ninth birthday.
https://musicians.allaboutjazz.com/brewmoore
///////
Su primer disco como líder The Brew Moore Qunitet se publicó en 1955.
En 1959, debido al alcoholismo, cayó gravemente enfermo, pero se recuperó y en 1960 realizó una gira por el Lejano Oriente. Poco después, en 1961, se trasladó definitivamente a Escandinavia y vivió tanto en Suecia como en Dinamarca. Allí permaneció el resto de su vida, salvo una breve estancia en Canarias, trabajando regularmente en clubes locales, haciendo giras y grabando; dirigió 9 sesiones de grabación durante su docena de años en Escandinavia. Tras terminar de tocar en un club de Copenhague el 19 de marzo de 1973, a pocos días de cumplir 49 años, Brew Moore se cayó por unas escaleras. Murió de camino al hospital.
De la revista Jazz Profestional
Mucho después de su muerte, la mayoría de los jazzistas siguen siendo recordados. Mencione los nombres de Louis Armstrong, Count Basie, Sidney Bechet, Duke Ellington, Lester Young, Benny Goodman, Stan Kenton al hombre de la calle y es más que probable que le responda "¿los jazzistas no eran?". Pero si se le pregunta al aficionado medio al jazz: "¿Quién era Brew Moore?", probablemente recibirá una mirada perdida.
No se les puede culpar, porque Moore era desconocido para la mayoría de los aficionados al jazz, debido a que se ha reeditado muy poco de su obra. Si uno está dispuesto a viajar a lo largo y ancho del país, es posible encontrar algunas de sus grabaciones, pero seguramente habrá que buscar exclusivamente en las tiendas de discos especializadas en jazz.
Brew Moore estuvo probablemente más influenciado por Lester Young que por cualquier otro saxofonista tenor. Es posible que Stan Getz, Zoot Sims, Al Cohn, Herbie Steward, Bill Perkins y muchos otros comenzaran sus carreras emulando a Lester Young, pero que posteriormente desarrollaran sus propios estilos. Esto no significa que Brew copiara intencionadamente a Young, sino que simplemente se sintió cómodo y a gusto con ese sonido concreto.
Moore nunca llegó a formar parte de la sección de saxos de los "Cuatro Hermanos" de Woody Herman, al igual que Stan Getz, Zoot Sims, Herbie Steward, Al Cohn y el saxofonista barítono Serge Chaloff. Sólo se puede suponer que nunca hubo una vacante en el momento oportuno, o tal vez él no quería el trabajo, sintiéndose inseguro o atrapado al girar con una big band durante cualquier periodo de tiempo. Las grandes bandas no eran el fuerte de Moore, aunque estuvo con la banda de Claude Thornhill durante aproximadamente seis meses y también grabó con Machitos Afro-Cubists. Se sentía más feliz en entornos de bandas pequeñas o liderando su propio cuarteto.
Quizás habría que empezar por la concepción del niño de la pequeña ciudad sureña de Indianola, Mississippi, donde Milton Aubrey Moore nació el 26 de marzo de 1924. Cuando tenía siete años, su madre le regaló una armónica por su cumpleaños. Pronto aprendió a tocar por sí mismo las melodías populares de la época y a los once años ya era miembro de la banda del instituto local.
A los dieciocho años pasó un tiempo muy breve en la Universidad de Mississippi, que abandonó tras sólo unos meses. Ahora poseía un saxofón tenor de segunda mano, llegó a Nueva Orleans con sólo tres dólares y rápidamente encontró su primer compromiso profesional con los Dixielanders de Fred Ford.
Al trasladarse del sur a Nueva York en 1943, Moore formó su propio cuarteto, que sería su formato favorito durante los años siguientes. Como ya se ha mencionado, Brew tocó brevemente con la big band de Claude Thornhill, quien, al igual que Woody Herman, se adentraba en el culto del be-bop a mediados de los años cuarenta.
Brew Moore era un participante habitual en el Roost y en el Bop City, donde tocaba con el sexteto del trombonista Kai Winding, en el que destacaba Gerry Mulligan con el saxo barítono, y realizó varias grabaciones: Crossing the Channel, Sleepy Bop, Broadway y Waterworks. Los dos primeros números se publicaron en American Roost, el último en el sello New Jazz. Moore también grabó con un sexteto dirigido por el trompetista Howard McGee, que también contaba con J.J. Johnson al trombón. Aparte del estándar I'll Remember April, los números grabados eran en su mayoría originales. Fuguetta, Fluid Drive Donellon Square, Meciendo y Lo Flame se grabaron originalmente en el sello Blue Note.
Moore llegó a grabar con el equipo de los Cuatro Hermanos, Getz, Sims y Al Cohn, además de otro hombre de 'Lester', Allen Eager. El título del álbum era Battleground. Esto nos da una idea de cómo se relacionaban musicalmente estos saxofonistas tenores. Eran totalmente compatibles.
Siempre que Charlie Parker venía a la ciudad, Brew Moore se alegraba de ser invitado a participar en sus jam sessions. Todo parecía suceder en torno a los clubes de Greenwich Village, Nueva York, en los años 50. Moore era siempre una cara conocida, cuando tocaba con los grandes del jazz o se presentaba con un cuarteto.
Cuando la escena del jazz moderno se desvaneció durante un tiempo, a mediados de los años cincuenta, en Nueva York, Brew se las arregló para conseguir un aventón en un viejo Buick con los hombres del country y el western, Billy Faier, Jack Elliott y Woody Guthrie. Hicieron una parada en Texas para comprar hamburguesas y alcohol. Después de la comida, Faier sugirió que Brew tocara algo con ellos. A Moore no le gustaba la música country. Comentó: "No toco en su estilo, no combinaría". Billy dijo: "Tocaremos algo de blues". Después de escuchar la versión de blues de Moore, Guthrie se negó a tener nada más que ver con él, así que Moore se fue a coger el autobús a San Francisco.
El ambiente de San Francisco le atraía, tanto musical como socialmente. Hizo muchas apariciones en el famoso Black Hawk, un local nocturno favorito de la gente del jazz. En algunas ocasiones, Moore tocó con una banda de Dixieland dirigida por los Bearcats de Bob Meilke, que por supuesto no era su medio, pero como señaló a un periodista, "voy donde está el trabajo".
En 1959, por exceso de trabajo y alcoholismo, Moore enfermó gravemente, pero se recuperó rápidamente y reanudó su trabajo para tocar en un vapor de Matson que se dirigía al Lejano Oriente. Poco después recorrió esta exótica parte del mundo. Se acercaba 1961 y numerosos músicos de jazz de primera línea abandonaban los Estados Unidos para dirigirse a Escandinavia y Europa. Sidney Bechet, Colman Hawkins, Benny Carter, Bud Powell, Kenny Clark, Oscar Pettiford, Teddy Wilson, Stan Getz, todos encontraron a los europeos muy receptivos al jazz en general.
Moore no encontró dificultades para conseguir trabajo en Suecia y Dinamarca y alternó entre ambos países. Se rodeó de los mejores músicos de Escandinavia y de los muchos estadounidenses que habían fijado su residencia allí.
En 1962 grabó una buena sesión en Dinamarca, con una formación formada por él mismo al tenor, Sahib Shibab al saxo alto, Lars Gullin al saxo barítono, Louis Hjuland al vibráfono, Ben Axen al piano, Niels-Henning Orsted Pedersen al bajo y William Schiopffe a la batería.
Al cabo de unos años, Moore aprovechó la oportunidad de ir más al sur, a las Canarias, donde ciertamente hacía mucho más calor y era menos caro que vivir en Escandinavia. Regresó en 1970 a Suecia y formó un buen cuarteto, compuesto por él mismo al saxo tenor, Lam Sjostens, al piano, Sture Norden al bajo y Frank Noren a la batería.
El álbum se publicó en Sonet Records, con el número de catálogo SNJF624. Presenta una amplia selección de material. El up-tempo de Lars Sjosten "Kong" (sí, no 'King') Fredrik's Blues es un número de tempo medio a rápido, lo mismo ocurre con Bait, compuesto por el difunto Tony Fruscella. En el álbum se encuentra Stockholm Dews, el último número que se escuchó y que fue compuesto por Brew.
Moore fue invitado de nuevo a Dinamarca y, tras un exitoso concierto en Copenhague el 19 de marzo de 1973, se cayó por unas escaleras. Murió en la ambulancia de camino al hospital. Le faltaba una semana para cumplir los cuarenta y nueve años.
https://musicians.allaboutjazz.com/brewmoore
2 - Introduction - 0:18
3 - I Should Care - 10:35
4 - Introduction - 0:11
5 - Donna Lee - 13:42
6 - Introduction - 0:15
7 - Zonky - 7:49
Credits:
Bass – Niels-Henning Ørsted Pedersen
Drums – Makaya Ntshoko
Piano – Kenny Drew
Tenor Saxophone – Brew Moore
Recorded live at Montmartre Jazzhus, Copenhagen February 17, 1966
Label: SteepleChase – SCCD 36037
Country: Denmark
Released: 2005
Genre: Jazz
https://www.discogs.com/release/14044432-Brew-Moore-Kenny-Drew-Niels-Henning-%C3%98rsted-Pedersen-Makaya-Ntshoko-Zonky
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