Oscar Moore

Oscar Moore’s guitar licks are among the mostmemorable in Americana, though his name may not drawknowing nods from the listeners of today.

Moore is perhaps best known for his impeccablecontributions to Nat “King” Cole’s version of “TheChristmas Song (Chestnuts)” a tune which is among themost standard of great American standards and a stapleof the holiday season. The momentous track, recorded in1946 by the original King Cole Trio, represents a high-water mark in the productive career of the famedbandleader and was one of a select handful of pop hits inthe era to feature beautiful jazz-tinged post-CharlieChristian guitar playing.

Moore’s decade-long tenure with Cole’s group began in1937. During this period he also recorded with notablejazz artists like Art Tatum, Lionel Hampton, and LesterYoung. By the mid 1940s, Moore was the music’s neweststar and was rated Number One Guitarist in theprestigious Down Beat magazine Reader’s Poll and theMetronome poll every year from 1945 to ’48. He alsoreceived the coveted Esquire silver and gold awards inthese years. Moore left the Nat King Cole Trio in ’47when the leader opted for simpler pop vocal songs andlush string arrangements over the drummer-less jazz triohe had established in the ’40s.

In the ensuing years, Moore relocated in Los Angelesand recorded all too infrequently. During this period he isbest remembered for an R&B stint from 1947 to ’54 withhis brother, guitarist Johnny Moore, in the Three Blazers,and his jazz work in a quartet with pianist Carl Perkinsfrom ’54 to ’55.

Initially overshadowed by the appearance of CharlieChristian in the late ’30s, Moore was recognized as aharmonically-advanced and highly accomplished player inthe following decade. As such, he is an important“missing link” in the evolution of the electric guitar duringthe swing era, the subsequent rise of bebop and birth ofmodern jazz.

Moore’s innovations fill the gap in the crucial periodbeginning with the death of Christian in 1942 and theemergence of new players like Barney Kessel, JohnnySmith, and Tal Farlow in the late ’40s and early ’50s,though he was not part of that particular stream. In fact, inmany ways his rhythmic, bop and blues-inflected linespresage more modern stylists like Grant Green and WesMontgomery.

A true unsung hero of jazz guitar deserving of greaterrecognition, Oscar Moore passed in 1981.

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