That Brew Moore was a disciple of Lester Young is a cliché ¢y now, but too few are aware of how good a saxophonist Brew Moore could be. The Brew Moore Quintet was originally recorded in 1956. It has been recently re-mastered, presenting Moore in a relaxed setting playing solo after solo of swinging, soulful jazz.
Moore is obviously very comfortable with this attentive San Francisco band. These musicians play a supportive role, highlighting Moore's extended solo work while adding their own concise solo statements. Dickie Mills on trumpet is a consistently interesting contributor with a warm, bluesy tone. Pianist John Marabuto adds thoughtful solos throughout. Max Hartstein and Gus Gustofson on bass and drums are tasteful and low-key, providing a solid, swinging foundation.
During the late 1940's and early 1950's, Brew Moore was a young, talented tenor on the New York scene before moving to the West Coast and later to Europe. His erratic career has not been well documented but we can be thankful for this recording of standards and blues. Moore's rhythmic and melodic gifts are most evident on slower and medium tempo numbers. His long solos on "I Want A Little Girl" and "I Can't Believe That You're In Love With Me" are particularly memorable. In short, this is a warm, appealing session that gets better and better with repeated listening. Moore may sound at times like Lester Young, but on this recording I'd say he sounds like "late" Lester Young on a night when the ideas were flowing and the local band was tight.
Track Listing: Them There Eyes; Them Old Blues; Tea For Two; Rose; I Can't Believe That You?re In Love With Me; Fools Rush In (Where Angels Fear To Tread); Rotation; I Want A Little Girl; Five Planets In Leo.
Personnel: Brew Moore, tenor saxophone; Dickie Mills, trumpet; John Marabuto, piano; Max Hartstein, bass; and Gus Gustofson, drums.
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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