Cooper-Moore and Assif Tsahar's follow up to "America" is this gutsy and rhythmically compelling release of incredible creative intensity and drive.
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Label: Hopscotch Records
Catalog ID: HOP 30
Squidco Product Code: 4490
Packaging: Cardstock Gatefold Sleeve
Recorded at Hopscotch Records, June 2004 by Assif Tsahar and Cooper-Moore.
Cooper-Moore-harp, ashimba, drums, flute, deedly-bo, mouth-bow, shofar, synth & the bell
Assif Tsahar-tenor sax, bass clarinet, acoustic guitar, muzmar & thumb piano
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• Show Bio for Cooper-Moore
"As a composer, performer, instrument builder/designer, storyteller, teacher, mentor, and organizer, Cooper-Moore [b. August 31, 1946] has been a major, if somewhat behind-the-scenes, catalyst in the world of creative music for over 40 years. As a child prodigy Cooper-Moore played piano in churches near his birthplace in the Piedmont region of the Blue Ridge Mountains of Virginia. His performance roots in the realm of avant jazz music date to the NYC Loft Jazz era in the early/mid-70s. His first fully committed jazz group was formed in 1970 - the collective trio Apogee with David S. Ware and drummer Marc Edwards. Sonny Rollins asked them to open for him at the Village Vanguard in 1973, and they did so with aplomb. A studio recording of this group was made in 1977, and issued as Birth of a Being on hatHut under Ware's name in 1979 (re-mixed and re-issued in expanded form on AUM Fidelity in 2015!). Following an evidently rather trying European tour with Ware, Beaver Harris, and Brian Smith in 1981, Cooper-Moore returned home and completely destroyed his piano, with sledgehammer and fire, in his backyard. He didn't play piano again until some years after, instead focusing his energies from 1981-1985 on developing and implementing curriculum to teach children through music via the Head Start program. Returning to New York in 1985, he spent a great part of his creative time working and performing with theatre and dance productions, largely utilizing his hand-crafted instruments. It was not until the early 90s, when William Parker asked him to join his group In Order To Survive, that Cooper-Moore's pianistic gifts were again regularly featured in the jazz context. In the early 'aughts the group Triptych Myth was his own first regular working jazz group in decades and together they blazed some trails and released two albums: one rich formative, and one exquisite. A destined creative re-union with David S. Ware in the Planetary Unknown quartet, the Digital Primitives trio with Assif Tsahar & Chad Taylor, and continued work with William Parker followed. Cooper-Moore's creative life continues well-strong and unabated into the present day. He will be/was the Lifetime Achievement Honoree at the 22nd iteration of Vision Festval, NYC on May 29, 2017."-Aum Fidelity (http://www.aumfidelity.com/cooper-moore.html)
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1. The Eight 4:38
2. Tribes Gathering 7:18
3. Oracles 5:51
4. The Hunt 3:15
5. Tells Untold 13:19
6. Deviations 4:30
7. Forlorn 5:22
8. Another World Another Time 3:52
9. The Procession 5:20
sample the album:
"Cooper-Moore and Assif Tsahar's follow up to [the] 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. The bright, lovely little flute/harp/guitar/mouth-bow multitracked Tribes Gathering also features a tasty bass clarinet solo by Tsahar. The unique sound of the mouth-bow blooms through the pastoral soundscape.
Deep rumbling synth underscores Oracles, with Tsahar seeing the future on tenor. His warm crying sax contrasts the moaning synth waves. Tsahar uses the bass clarinet to blow the charge on The Hunt, with Cooper-Moore providing drums and rapid ashimba. A beautiful harp solo starts the title track, quickly joined by a minored flute song. Switching to hard rolling tenor sax, the piece switches gears with Cooper-Moore hiss and whisper on drums. Some baritone horns blow a fanfare, and a synth marimba joins Tsahar's fiery muzmar, a Middle Eastern double reed, for atmospheric exotica that lands us back into the rollicking tenor solo.
Spidery bass strings dance and stretch with abrupt guitar on Deviations. Cooper-Moore's deedly-bo swims a rubbery rhythm over Tsahar's guitar shards. A heartbreaking harp/tenor duet, Forlorn, lets Tsahar's tenor cry softly with Cooper-Moore's graceful music box accompaniment. Slapped keys and grating metal synth back Tsahar's tenor solo in sci-fi on Another World Another Time. The Procession encores the slippery deedly-bo, Tsahar soaring over the bounce. Suddenly, multitracked flutes, harps, and ashimba create a succulent tropical paradise soundtrack, Tsahar sticking around on tenor.
Tshar and Cooper-Moore act as true Eulipions, transporting the listener through the threshold of imagination."-Rex Butters, All About Jazz
NY Downtown & Jazz/Improv