- published: 13 Mar 2015
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Milton Aubrey "Brew" Moore (March 26, 1924 in Indianola, Mississippi – August 19, 1973), was an American jazz tenor saxophonist.
Moore's formal musical training began at twelve, first on trombone, then clarinet before switching to tenor saxophone. Inspired by the style of Lester Young (aka Prez or Pres), he got his first professional experience playing in a Texas territorial band the summer before entering college.
Moore left the University of Mississippi in his first year to pursue a performing career, with stints in New Orleans, Memphis and New York City (twice) between 1942-47. In New York he first heard the new music called bebop. As one who idolized Young (he even held his horn at the same unorthodox 120 degree angle), Moore was at first uncomfortable with it, but as he recalled for New York Times critic John Wilson in 1968: "When I heard what Bird (Charlie Parker) had done for himself, I realized that Pres was not the complete messiah. So I combined Bird and Pres and my own thing."
Moore may refer to:
Charles "Charlie" Parker, Jr. (August 29, 1920 – March 12, 1955), also known as "Yardbird" and "Bird", was an American jazz saxophonist and composer.
Parker was a highly influential jazz soloist and a leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique and advanced harmonies. Parker was a blazingly fast virtuoso, and he introduced revolutionary harmonic ideas including rapid passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber. Parker acquired the nickname "Yardbird" early in his career. This, and the shortened form "Bird", continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise". Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer.
Hyman Paul Bley, CM (November 10, 1932 – January 3, 2016) was a Canadian pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing. Bley was a long-time resident of the United States. His music characteristically featured strong senses both of melodic voicing and space.
Bley was born in Montreal, Quebec, on November 10, 1932. His adoptive parents were Betty Marcovitch, an immigrant from Romania, and Joe Bley, owner of an embroidery factory.
In the 1950s Bley founded the Jazz Workshop in Montreal, performing on piano and recording with bebop alto saxophonist and composer Charlie Parker. He also performed with tenor saxophonists Lester Young and Ben Webster at that time. In 1953 he conducted for bassist Charles Mingus on the Charles Mingus and His Orchestra album. That year Mingus produced the Introducing Paul Bley album with Mingus and drummer Art Blakey. In 1960 Bley recorded on piano with the Charles Mingus Group.
Tony Fruscella (February 4, 1927, in Orangeburg, New York – August 14, 1969, in New York City) was an American jazz trumpeter. He died of liver cirrhosis in 1969.
Tony, and his sister Maria, grew up in Greenwich Village, part of Manhattan, New York. Fruscella played in an Army band early in his career. He served as a sideman for numerous jazz musicians in the 1950s, including Charlie Barnet,Lester Young,Gerry Mulligan (1954) and Stan Getz (1955). He played with Don Joseph later in the 1950s, but by the early 1960s his problems with drug abuse and alcoholism sidelined him from active performance.
He was married to singer Morgana King. The marriage ended in divorce after nine years. They had a daughter Graysan (1950–2008) and have a grandson, Morgan
Tony Fruscella released only one record as a leader during his lifetime, 1955's I'll Be Seeing You (with Allen Eager and Danny Bank) on Atlantic Records. Several reissues of live material and studio outtakes followed his death.
Brew Moore (ts), Sahib Shihab (as), Bent Axen (p), Niels-Henning Orsted Pedersen (b), William Schiopffe (ds) Recorded in Copenhagen, September 26, 1962
Charlie Parker and Brew Moore with Paul Bley Quartet at CBC Studios 1953 1) Cool Blues (Charlie Parker) 2) Bernie's Tune (Jerry Leiber, Bernard Miller, Mike Stoller) 3) Don't Blame Me (Dorothy Fields, Jimmy McHugh) 4) Perdido (Wahoo) (Ervin Drake, H.J. Lengsfelder, Juan Tizol) Personnel: Charlie Parker (alto sax, except 2), Brew Moore (tenor sax, -2,4), Paul Bley (piano), Dick Garcia (guitar), Neil Michaud (bass), Ted Paskert (drums) from the album 'CHARLIE PARKER - MONTREAL 1953' (Uptown Records)
Tony Fruscella (tp), Brew Moore (ts), Bill Triglia (p), Teddy Kotick (b), Bill Heine (ds) Album:" Tony Fruscella & Brew Moore Quintet / 1954 Unissued Atlantic Session " Recorded:New York City, March 22, 1954
Brew Moore Quintet - Edison's Lamp (1957) Personnel: Brew Moore, Harold Wylie (tenor sax), John Marabuto (piano), John Mosher (bass), John Markham (drums) from the album 'BREW MOORE' (Fantasy Records)
Brew Moore (ts), Lars Bagge (p), Lars Petterson (b), William Schiopffe (ds) Album:" Brew Moore /Live In Europe 1961 " Recorded:Live at Club Nalen, Stockholm, 1961
Brew Moore (ts),Bent Axen (p), Niels-Henning Ørsted Pedersen (b),William Schiøpffe (ds) Album:“Brew Moore / Svinget 14 - In Europe” Recorded:Copenhagen, September 26, 1962
Brew Moore (ts), Bent Axen (p), Erik Mosholm (b),William Schiøpffe (ds) Album:“Brew Moore / Svinget 14 - In Europe” Recorded: Live at the Scala, Aarhus, Denmark, February 11, 1962
The Brew Moore Quintet interpretando un tema de composición de Louis Dumaine: Dues Blues. Los miembros del quinteto son: Brew Moore (Tenor Sax), Cal Tjader (vibes), Vince Guaraldi (Piano), Bobby White (drums) and Dean Reilly (Bass). La grabación fue capturada en vivo en la Universidad de California, en el año 1957. El tema fue extraído del LP "Brew Moore" del Sello Fantasy Records.
Brew Moore Quartet - I Can't Believe That You're in Love with Me (1956) Personnel: Brew Moore (tenor sax), John Marabuto (piano), Max Hartstein (bass), Gus Gustofson (drums) from the album 'THE BREW MOORE QUINTET' (Fantasy Records)
Part 2 of the University of South Carolina Darla Moore School of Business 35th Annual Economic Outlook Conference, held December 17, 2015, featuring presentations by Federal Reserve economist Richard Kaglic, Moore School Dean Peter Brews, the Moore School 2016 economic outlook with research economist Joey Von Nessen, and Wells Fargo global analyst Jay Bryson.
We're live once again for another Podcast edition of The Beer Chasers! We're joined once again by Mike Peterson from At The Bar Podcast Matt Geleske from Musquito County Brewing and Brian Moore from the Burnt Brian show as we chat all things beer!
June 30, 1950 Birdland, New York City, New York Birdland All-Stars: Miles Davis (tpt); Fats Navarro (tpt on -2); J.J. Johnson (tb [out on -3]); Charlie Parker (as -3); Brew Moore (ts [out on -3]); Tadd Dameron (p -1, -2); Walter Bishop, Jr. (p -3, -4); Curley Russell (b); Art Blakey (d) Max is Making Wax (O. Pettiford) -1 Wee (Allen's Alley) (D. Best) -1 Hot House (T. Dameron) -2 52nd Street Theme (T. Monk) -1 Conception [aka Deception] (G. Shearing-M. Davis) -3 Ow (D. Gillespie) -1 Embraceable You (G. Gershwin-I. Gershwin) -1 Eronel (S. Hakim-I. Sulieman-T. Monk) -4 52nd Street Theme (T. Monk) -4
For this SERVE Brew, we will be hanging out with some of the team at Church of the Highlands, learning "how to's" for setting up a Christmas Outreach - Shopping Mall style.
Jazz. With bellies. Featuring Randy Moore and Sarah Jain. Music from Bitches Brew by Miles Davis.
Felicia Eliot (Ellen Woods) is the celebrated CEO of Curate, a hot new photo-sharing startup out of Stanford, but trouble quickly starts brewing among her founding members (Sarika Reddy, Ben Kaufman, Elias Mooring). "How to Start a Startup" lecture audio courtesy of http://startupclass.samaltman.com Like us on Facebook at http://facebook.com/atbayseries Follow us on Instagram at http://instagram.com/atbayseries/
This week its Ben and Aadil, once again joined by the beerisitible Lucy. We talk Hue, and the Titanfall 2 beta. We also discuss if having the ability to refund games is right following the issues around No Man's Sky refunds. In a landmark moment, the three of us managed to get the same beers. We started with Moor Brewing’s “So’Hop”, and followed it up with Cloudwater’s limited release “Dipa V6”. Sadly no beer for the homies this week.
Niels-Henning Ørsted Pedersen-bass Alvin Queen-drum Gustav Csik-piano Biography : Niels-Henning Ørsted Pedersen ( May 27, 1946 -- April 19, 2005) Ørsted Pedersen was born in Osted, near Roskilde, on the Danish island of Zealand, the son of a church organist. As a child, Ørsted Pedersen played piano, but from the age of 13, he started learning to play upright bass and at the age of 14, while studying, he began his professional jazz career in Denmark with his first band, Jazzkvintet 60 (Danish for 'Jazz Quintet 60'). By the age of fifteen, he had the ability to accompany leading musicians at nightclubs, working regularly at Copenhagen's Jazzhus Montmartre, after his debut there on New Year's Eve 1961, when he was only 15. When seventeen, he had already turned down an offer to join the Count...
Watch the Opening Ceremony of the new Darla Moore School of Business at the University of South Carolina, with remarks from More School Dean Peter Brews, University of South Carolina President Harris Pastides, Darla Moore, and architect Rafael Vinoly. (45 minutes, Widescreen HD)
I settle down a twisted up frown
Disguised as a smile, well, you would have never known
I had it all, but not what I wanted
'Cause hope for me was a place uncharted and overgrown
You'd make your way in
I'd resist you just like this
You can't tell me to feel
The truth never set me free
So I did it myself
You can't be too careful anymore
When all that is waiting for you
Won't come any closer
You've got to reach out a little more
More, more, more, more
Open your eyes like I open mine
It's only the real world, life you will never know
Shifting your way to throw off the pain
Well, you can ignore it, but only for so long
You look like I did
You resist me just like this
You can't tell me to heal
And it hurts remembering
How it felt to shut down
Can't be too careful anymore
When all that is waiting for you
Won't come any closer
You've got to reach out a little more
More, more, more, more
The truth never set me free
The truth never set me free
The truth never set me free
So I'll do it myself
You can't be too careful anymore
When all that is waiting for you
Won't come any closer
You've got to reach out
Can't be too careful anymore
When all that is waiting for you
You won't come any closer
You've got to reach out more