Cooper-Moore's astonishing solo piano album live in Guelph shows his immense knowledge of jazz idioms crossed with mind-altering, outer-edge playing, Moore's "improvisation as lifeblood".
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Label: Hopscotch Records
Catalog ID: HOP 05
Squidco Product Code: 11917
Condition: Sale (New)
Packaging: Cardstock Gatefold Sleeve
Recorded by Cooper-Moore live at the Piazza Joint, Guelph, Canada on September 10, 1999. Mastered by Paul Geluso at Harvest Records.
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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. Introduction By Vijay Iyer 1:34
2. Prelude - I Want To Give Thanks 2:24
3. Part 1 - All Of A Sudden 4:11
4. Part 2 - A Float 5:49
5. Part 3 - Waltz 4:02
6. Part 4 - Blues For Jacki Byard 5:39
7. Part 5 - We Who Labor 5:07
8. Part 6 - Radiance 6:58
9. Part 7 - Evolution 6:59
10. Part 8 - The People 3:10
11. Part 9 - The Agony Of This Feelings Felt 2:52
sample the album:
"Serious props to Susie Ibarra and Assif Tashar for issuing this live and in-your-face recording of Cooper Moore live at The Pizza Joint in Guelph, Canada.
After a brave introduction by Vijay Iyer (Pico's brother?) with Moore constantly interrupting, Cooper Moore, one third of the the Susie Ibarra Trio, gives his own beat-rant thank you to all of the jazz masters who preceded him. Once this is out of the way, Moore goes after the piano with his hyper-intuitive approach to extended harmonies and timbres.
His esthetics include a highly evolved sense of how improvisation is an extension of the human breath, much more elementary than voice. But it's not only his outer-edge playing that's mind-altering, it's his blues and swing, too. On his "Blues for Jaki Byard," Moore displays his inherent knowledge of boogie-woogie nuances and a keen sense of rhythm shifting that plays behind as well as in front of the beat with the left hand. "Waltz" feels as if Lester Young and Count Basie could have written and performed this if they would have been Turks in the vanguard. On Susie Ibarra's "Radiance," Moore shows the depths of his lyrical commitment by using space and timbre to reflect Ibarra's haunting chromaticism. And on his own "Evolution," he pulls out all the stops with a furious series of minor-key harmonic revelations with a lightning legato phrasing technique and a percussive rain of contrapuntal arpeggios.
Moore dazzles the crowd and the listener with his pervasive "improvisation as lifeblood" approach to performance. Astonishing. "-Thom Jurek
NY Downtown & Metropolitan Jazz/Improv
NY Downtown & Metropolitan Jazz/Improv
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