{"id":10766,"date":"2018-12-08T17:22:21","date_gmt":"2018-12-09T01:22:21","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=10766"},"modified":"2018-12-08T21:12:19","modified_gmt":"2018-12-09T05:12:19","slug":"fruscella-moore-an-important-find","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/12\/fruscella-moore-an-important-find\/","title":{"rendered":"Fruscella & Moore: An Important Find"},"content":{"rendered":"\r\n\r\n\r\n

\"\"<\/a>Trumpeter Tony Fruscella and tenor saxophonist Brew Moore were admired members of the generation that succeeded the pioneers of bebop. Lester Young was a direct influence on Moore’s tenor saxophone style. Fruscella was less identifiable in terms of models, although it was clear that early Miles Davis had an effect on him as, indeed, Davis had on Chet Baker and many other trumpet contemporaries. Fruscella was one of the young lions of the New York jazz scene in the late 1940s and early ’50s. Moore was active in New Orleans in the early forties\u00e2\u20ac\u201dhe later called it his \u00e2\u20ac\u0153training ground\u00e2\u20ac\u201dthen in New York. Later, he was in demand in San Francisco.”\u00a0Peripatetic throughout his career, Moore worked in Paris for a time with drummer Kenny Clarke, moved to Copenhagen, back to New York, then to Copenhagen again, where he died in 1973 after falling down a flight of stairs.”\u00a0Like Moore and so many others of their jazz generation, Fruscella had drug problems and died in 1969.<\/p>\r\n\r\n\r\n\r\n

The intimacy of Fruscella\u00e2\u20ac\u2122s tone and phrasing made him an attraction during his New York period in the fifties and helped inspire Atlantic Records to record him. The 1955 sessions resulted in the album Tony Fruscella<\/a>, which became”\u00a0”\u00a0an underground favorite and was finally reissued as a 12-inch LP thirty years later. The \u00e2\u20ac\u0153new\u00e2\u20ac\u009d Fruscella-Moore album just issued was also recorded in 1955. The rhythm section was New York stalwarts Bill Triglia, piano; Teddy Kotick, bass and Bill Heine, drums. Preparation for the March, 1954, date was informal, as the preponderance of blues indicates. The two takes of \u00e2\u20ac\u0153Bill Triglia\u00e2\u20ac\u2122s Original,\u00e2\u20ac\u009d with its interesting middle section, constitute an interesting compositional exception. The individuality and inventiveness of the soloists and are what matter here. We may learn nothing dramatically new about Fruscella and Moore, but we are rewarded with an hour of their music that until now has been all but unknown. I keep going back to the slow blues imaginatively titled \u00e2\u20ac\u0153Slow Blues,\u00e2\u20ac\u009d with a Fruscella solo as intimate as confidential speech.”\u00a0”\u00a0<\/p>\r\n\r\n\r\n\r\n

The album has a welcome bonus, two tracks, \u00e2\u20ac\u0153Blue Bells\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Round-Up Time\u00e2\u20ac\u009d from Fruscella\u00e2\u20ac\u2122s brief period in 1955 by tenor saxophonist Stan Getz and his superb rhythm section of the time, pianist John Williams, bassist Bill Anthony and drummer Frank Isola.”\u00a0”\u00a0<\/p>\r\n\r\n\r\n\r\n\r\n\r\n

The album has welcome bonuses, \u00e2\u20ac\u0153Blue Bells\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Round-Up Time,\u00e2\u20ac\u009d from Fruscella\u00e2\u20ac\u2122s brief period in 1955 with tenor saxophonist Stan Getz and his superb rhythm section of the time, pianist John Williams, bassist Bill Anthony and drummer Frank Isola.”\u00a0”\u00a0<\/p>\r\n\r\n\r\n\r\n

 <\/p>\r\n","protected":false},"excerpt":{"rendered":"

Trumpeter Tony Fruscella and tenor saxophonist Brew Moore were admired members of the generation that succeeded the pioneers of bebop. Lester Young was a direct influence on Moore’s tenor saxophone style. Fruscella was less identifiable in terms of models, although it was clear that early Miles Davis had an effect on him as, indeed, Davis […]<\/p>\n","protected":false},"author":2,"featured_media":10780,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-10766","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10766","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=10766"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10766\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/10780"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=10766"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=10766"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=10766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}