If you ask any jazz fan who’s in the know who is the most underrated guitarist in jazz history, he or she should answer “Oscar Moore” if they know what they’re talking about. (The second most underrated is his brother Johnny, but that’s for another story and box set reissue)
Best known for his tasty and lyrical work with Nat King Cole, Moore (1916-81) supplied the subtle rhythms and concisely swinging solos for countless stars and sessions. This 3 disc collection highlights his work mostly post Cole, and focusing on some wonderfully obscure bop, blues and R&B sessions.
As for his work with Cole and bassist Johnny Miller, Moore is a true joy on the instrumentals “Sweet Georgia Brown” and “You Name It”. Vocalist Anita O’Day joins in with a bouncy “Penthouse Serenade as well. Much of the rest of the material here consists of pianists/singers that sounded quite a bit like Cole, although a bit bluesier, such as Charles Brown (who hired the brother/guitarist BTW), and digs in deep for “Nightfall” and “Cold In Here”. Even a young Ray Charles has the Cole bug as he croons on “Baby Let Me Hold Your Hand”. More R&B and baritone vocalists like Frank Ervin or Nelson Alexander join with Johnny and Oscar for “Bed Time” and “Cloudy Skies” respectively, while tenor saxist Illinois Jacquet cruises on “Speedliner” and sassy Kitty White has fun with “Jesse James”. His teaming with brother Johnny and his Three Blazers include some rich baritone vocals by “Keys Mahon” on “You’re Getting Tired”, Billy Valentine on a rollcking “Shuffle Shuck” and Nelson Alexander on a ebullient “You Don’t Have To Treat Me L ike A Stranger”.
In trio and quartet settings, Moore teams up with pianist Ernie Freeman and bass/.vocalist George Bledsoe on Cole inspired “What Can I Say After I Say I’m Sorry” and “Too Marvelous For Words” while instrumentals “Peg O’ My Heart” and “Soft Touch” are bon mots. Moore then brings together Carl Perkins/p, Joe Comfort/b Lee Young/dr and Mike Pacheco/bong for some bouncy “Up Tempo”, a rainbow’d “Body And Soul”, reclining “The Nearness Of You” and strolling “Walking Home” with Moore in a similar quartet for a hip “ Oscar’s Blues” and glistening “A Foggy Day”. Most fun are a collection of duets with bassist Leroy Vinnegar, with some wonderful interplay on “Sweet Lorraine” and a haunting “ Angel Eyes”. Last is a 1965 trio outing with Gerald Wiggins/p and Joe Comfort/b for a nice and bluesy “Gee Baby, Ain’t I Good To You”, and some clever originals like “Old King Cole” and “Beautiful Moons Ago”.
The 27 page booklet is encyclopedic in the background information, and the session listings are essential for putting all of the pieces together. The only thing that’s missing is a book of the solos-who’s volunteering?!?