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Cooper-Moore: Outtakes 1978
by Jeff Stockton
About ten years ago, Cooper-Moore was a bona fide man of mystery. He had a reputation as a formally trained, creatively inspired master improviser who was fluent on just about any instrument he touched (particularly the piano), but he was also in possession of a notoriously maverick heart. It was said he would only perform and ...
Assif Tsahar / Tatsuya Nakatani / KJLA String 4tet: Solitude
by Eyal Hareuveni
The first cooperative venture between Israeli reed man Assif Tsahar and Japanese conceptual percussionist Tatsuya Nakatani, both based in New York, focused on investigating the more abstract regions of free jazz (Come Sunday, Hopscotch, 2004). Tsahar exerted more control than sweaty power, and Nakatani proved himself a most singular and versatile percussionist. Nakatani hardly ever uses ...
Steve Dalachinsky & Matthew Shipp: Phenomena of Interference
by Eyal Hareuveni
The sort-of-official bio of downtown New York poet Steve Dalachinsky describes him as being born “sometime after the last Big War and before lots of useless little wars." And maybe, as such, his poetry lacks the revolutionary agitation of Amiri Baraka (for example, on the William Parker Ensemble's yet to be officially released Inside Songs of ...
Assif Tsahar / Cooper-Moore / Hamid Drake: Lost Brother
by Jeff Stockton
For a saxophone trio to get itself noticed these days, it needs a gimmick, a hook, something special to set its sound apart. The trio on Lost Brother has three. Saxophonist Assif Tsahar improves with every outing and wisely varies his attack by playing as much bass clarinet on this disc as tenor. Drummer par excellence ...
Assif Tsahar / Cooper-Moore / Hamid Drake: Lost Brother
by Eyal Hareuveni
As its name implies, Lost Brother is about familiarity and musical intimacy. The first collaboration between Israeli reed man Assif Tsahar and Chicago drummer Hamid Drake was named Soul Bodies (Vol. 1, Ayler, 2001), and the musical bond between Tsahar and Cooper-Moore began when Tsahar guested in William Parker's In Order to Survive, where Cooper-Moore played ...
Cooper-Moore: Outtakes 1978
by Jerry D'Souza
These outtakes from 1978 conclusively document music as a force with constant appeal. Cooper-Moore is a multi-instrumentalist with many interests and pursuits, the spectrum of his calling seen in the wide range of his music. Improvisation is a key factor in his work, but composition also plays an integral role. Besides, he can grab the ear ...
Cooper-Moore: Outtakes 1978
by Troy Collins
A welcome reissue, Outtakes 1978 finds iconic multi-instrumentalist Cooper-Moore leading a varied set of pieces in the studio. Each track is introduced with its respective title and take number by Gretchen, listed as the recordist for the session; it even sounds like an archival album. Cooper-Moore's infatuation with tribal percussion and gospel-tinged work outs certainly help ...
Tells Untold
By Cooper-Moore
Label: Hopscotch Records
Released: 2005
Track listing: The Eight; Tribes Gathering; Oracles; The Hunt; Tells Untold; Deviations; Forlorn; Another World Another Time; The Procession
Cooper-Moore and Assif Tsahar: Tells Untold
by Rex Butters
Cooper-Moore and Assif Tsahar's follow up to last year's blistering America finds them sounding a mellower tone, with no loss of passion or imagination. Tsahar's improvisational intensity navigates the unique aural worlds created by Cooper-Moore, whether on conventional or invented instruments. Cooper-Moore plays the marimba-like ashimba while Tsahar simmers on bass clarinet to open “The Eight. ...
Cooper-Moore/Assif Tsahar: Tells Untold
by Eyal Hareuveni
On Tells Untold, homemade-instrument inventor Cooper-Moore and Israeli reed man Assif Tsahar keep refining their unique, hard-to-classify musical language. The narrative evolves around stories that Cooper-Moore and Tsahar told each other during the recording about an ancient tribal mutiny against the tribe's king, and it has a more meditative atmosphere than their previous collaboration, America (Hopscotch, ...
