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michael moore

Discussion in 'Bassists [DB]' started by klepto, Dec 10, 2004.


  1. klepto

    klepto Guest

    Nov 10, 2004
    i just bought my first recording with michael moore--getting sentimental by bill evans
    i'm sure that a lot of you are familar with this recording--michael moore sounds great on it, in spite of the terrible sound quality
    so... my question is: what are some other essential recordings with michael moore?
     
  2. Ed Fuqua

    Ed Fuqua

    Dec 13, 1999
    NYC
    Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
    Just about anything.
    There's a nice duo record from the LIVE AT MAYBECK series on CONCORD with Bill Charlap. There's an interesting and fun bass duo record with Rufus Reid, there's at least one record called THE HISTORY OF JAZZ or something like that (with Ken Peplowski), hmm what else. There's a record with Doug Raney and Billy Hart ( and maybe Jimmy Raney on a couple of cuts?) under Doug's name.

    But I don't think you can go wrong with anything he's on.
     
  3. Sam Sherry

    Sam Sherry Inadvertent Microtonalist Supporting Member

    Sep 26, 2001
    Portland, ME
    Euphonic Audio "Player"
    Ditto that.

    My long-time favorite is Bob Brookmeyer Small Band originally released as Live at Sandy's, Jazz Heritage 523028L.

    The thing that I love about Michael's playing is he's incredibly agressive in the most laid-back way. What I mean is, that he takes so many chances as a soloist, playing highly adventurous, totally modern stuff . . . so prettily that you'd never notice if you weren't really listening carefully. His walking drives all night -- it's often rhythmically busy, with all those beautiful smears and rips -- but his pocket is always eight feet deep.

    That Bill Evans record is really cool but I haven't heard him sound quite like that elsewhere. One more facet to an incredibly skilled and soulful musician. I'll be eating his dust for as long as I breathe.

    Where's HigDon?
     
  4. I like "Roger Kellaway Meets The Duo" (Gene Bertoncini & Michael Moore) - great stuff!

    - Wil
     
  5. bassbob

    bassbob

    Oct 16, 2004
    Midwest
    I had the the great privilege to hear a concert with Michael and Gene B back in the middle eighties. Michael let me play his custom hybrid bass. ( possibly the forerunner to the eminence. Soild Maple with solid maple wings you could hang on this sides. I still have the autographed album somewhere in the record rack downstairs.

    Listen to anything he has done you can't go wrong.

    Bob
     
  6. #1
     
  7. I thought it was the band uniforms.....of course you would know.
     
  8. klepto

    klepto Guest

    Nov 10, 2004
    yes, it's in the liner notes on the cd
     
  9. Marlat

    Marlat

    Sep 17, 2002
    London UK
    :eyebrow:
     
  10. klepto

    klepto Guest

    Nov 10, 2004
    ok, im impressed
     
  11. bassphase

    bassphase Supporting Member

    Jul 26, 2004
    San Francico Bay Area
    That seems like a really provincial attitude. I can't fathom turning down the opportunity to work with one of the world's greatest jazz pianists simply because of his vices.


    bob
     
  12. #1
    Jason and I did, indeed, have a good exchange, privately.
    My main point is that in the world of drug addiction, you sometimes don't have a choice....whether to score or not. An addict sometimes has to score in order to function. Not very pretty, but true. What's amazing to me is the amount of beautiful music Bill and Joe left for us in spite of this.
    As Jason and I discussed, we're double lucky that Michael Moore didn't have these problems and we can still enjoy him full throttle!
     
  13. Sam Sherry

    Sam Sherry Inadvertent Microtonalist Supporting Member

    Sep 26, 2001
    Portland, ME
    Euphonic Audio "Player"
    I started studying with Michael Moore right around the time he decided to leave Bill Evans.

    Bullseye. Dead right.

    Michael Moore was (and I have no doubt remains) the essence of urbanity.

    He didn't turn it down. He experienced it in excruciating detail for half a year. Based on that experience he made a difficult and consciously-life-changing decision that working with that band was so bad for him that it was better not to do it than it was to take the benefit being offerred. Equally to the point, your post assumes that Michael's problem was with Evans and that's not the only available conclusion.

    In 1978 I was young -- 17 -- and wide-eyed. Michael was in his mid-30s and had experienced his share of life's serious travails (details of which are not germaine to this discuss) even though he still had a bucket of trouble heading toward him (also not relevant here).

    It's probably more of a comment on Philly Joe Jones than on Bill Evans. It's possible that Michael's decision to step off the stand led Evans to musical changes from which he benefitted tremendously at the end of his life. It's truly too bad: As much as I like Marc Johnson, listen to Michael Moore and Joe LaBarbera playing at that time on Bob Brookmeyer's Live at Sandy's and think about what that pair could have done for Evans if the cards had fallen that way.

    Above all, Michael's tenure with The Bill Evans Trio is a sterling example of the age-old adage: "Be careful what you wish for because you may get it."
     
  14. Johnnythekid

    Johnnythekid Guest

    Dec 20, 2004
    Oklahoma City, OK
    Hello there, this is my first post on TB, so I hope I'm not interfering, haha. I'm personally trying to get my hands on the Bass Day '97 video available from musiciansfriend.com. It's the one that features Micheal Moore and Rufus Reid, it looks like it should be really smokin'! :cool:
     
  15. Ed Fuqua

    Ed Fuqua

    Dec 13, 1999
    NYC
    Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
    What's the difference between an alcoholic and a junkie?
    They'll both steal your wallet, but the junkie will help you look for it.

    Jimmy Raney stopped playing with Getz for the same reason. As others have said, if the bad stuff starts outweighing the good stuff, you make the choice that's best for you. I have to assume that, like many of us, you can't "fathom" why someone would do that because you've never had the opportunity to make that choice. Try imagining that you get to play with whoever it is that is your heart's shining ideal. And then having to deal with them showing up late, not showing up, getting paid in advance and not showing up but not telling you so that YOU show up. And the gigs that do get played you have to wade through bad night after bad night til you get to that one night of Pure Poetic Genius.

    There's a bunch of guys that wouldn't play with Art Pepper cause he was a junkie. About the only guy that seemed to be able to get away with that for a long period of time was Bird, and from all accounts he was an EXTREMELY charming individual when he wanted to be.

    The only long term gig I've had with somebody that was on the periphery of jazz "stardom" had its own ups and downs, because the singer had her own issues. But nothing as drastic as long term addiction. I'd hate to be in a position where I'd have to stop working with somebody whose music I admired because their behaviour made it impossible to just relax and play.
     
  16. I am taking classes here in NYC and I would like to take private lessons with Mr. Moore. Can anyone tell me how to get in contact with him? Any info would be appreciated.


    Manny
     
  17. arnoldschnitzer

    arnoldschnitzer AES Fine Instruments

    Feb 16, 2002
    Brewster, NY, USA
    I studied with Michael briefly in the mid 70's. A wonderfully warm person and an incredibly well-rounded musician. Frequently our sessions would end up in an hour jam with Michael playing piano or bass. His piano playing was way more advanced than the average doubler. I went to a performance of the Evans trio with Michael and Joe LaBarbera at the Vanguard, and had the uncomfortable pleasure of spending some time between sets in the back room, where Bill just hung loose reading the times. I had heard the trio with Eddie Gomez and Paul Motian, and I thought this one was on the same level musically. As has been previously stated in this thread, Michael has had his share of hard times and remains a huge talent and a real gentleman.