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Rufus Reid / Michael Moore - DoubleBass Delights   $12.95


Rufus Reid - Bass, Michael Moore - Bass

1.  Tea For Two (5:02) by Vincent Youmans 1925.
2.  All Blues (6:12) by Miles Davis
3.  Satin Doll (5:11) by Strayhorn & Ellington 1958.
4.  It's The Nights I Like (5:46) by Rufus Reid 1996..
5.  You're My Everything (5:01) by Harry Warren 1931.
6.  Stompin' At The Savoy (5:15) by Goodman, Sampson, Webb 1934
7.  Recordame (4:04) by Joe Henderson
8.  Sophisticated Lady (5:23) by Duke Ellington 1933.
9.  Seven Minds (5:56) by Sam Jones.
10.  Lover (6:04) by Richard Rodgers 1932.
11.  Sonnymoon For Two (3:51) by Sonny Rollins.
12.  They Can't Take That Away From Me (4:48) by George Gershwin 1937.
13.  Cottontail (1:57) by Duke Ellington 1940.
Total Time (65:13)

Listen to CD Tracks

     I first heard this very unusual duo back in 1995 on a Sunday evening at Zinno's, a good New York City restaurant where you can listen to jazz in a friendly setting. I was overwhelmed by the music I heard that night and I'm delighted that Rufus and Michael, with the help of an excellent engineer, managed to record their work for everyone to hear.

    Traditionally the upright bass has been an accompanying instrument in jazz. When I was coming up in Chicago in the late 20's and early 30's, there was no amplification, so bass players had to struggle just to be heard. If we were lucky we might get one solo a night, but a bass solo was seen as more of a novelty than a real musical contribution.

    Over the past fifty years the bass has come a long way in jazz. This album is a testament to that evolution. On track after track, Rufus and Michael show their versatility, playing all over their instruments, executing complicated fingerings and difficult bowed passages. They keep time and comp for each other the same way a pianist comps behind a brass or reed soloist.

    Rufus and Michael have made an album which every bass player must hear. Both of these men have distinguished themselves as sidemen and as instructors, and after hearing this performance, I know their students will appreciate the unusual skills of their teachers.

    This album can be understood and appreciated by non-bass players too. Begin by listening to the standards like Tea For Two, Satin Doll and Stompin' At The Savoy. There is a relaxed kind of interplay between the bassists. They sound like they are very comfortable with each other. They cooperate rather than compete and throughout the album it's clear that these two distinguished bassist are willing to explore new frontiers for their instrument.

    They illustrate true knowledge of the bass. Their styles are very clear and different with solid harmonic and melodic playing that invites repeated listening.

    Milt Hinton

    In 1971, still living in Chicago, I was a guest artist at the University of Wisconsin Jazz Festival in Eau Claire, Wisconsin. Michael Moore was featured with trumpeter, Freddie Hubbard. Our friendship began. I was impressed with his prowess around the bass. After moving to the New York area, our friendship continued, but rarely seeing or hearing each other except on recordings. Our styles are different by the way we physically approach the instrument, and yet our musical savvy is very, uncannily similar. We compliment each other very well. Bass players generally never have another bass player to support them while they are soloing. It is a wonderful feeling for a change.

    Three years ago I asked Michael to assist us at William Paterson as a bass teacher for one semester in our Jazz Studies and Performance Program. We saw more of each other and discussed our one day performing together. Michael obtained four Sundays at the restaurant, Zinno's, in New York city. We went in well rehearsed and the response was extremely positive. Word of mouth and curiosity made it a very memorable for many people, including us. It is very rare to have two basses play together as an advertised event. This recording is the result of the love and energy that blossomed from those Sundays. I hope that you will enjoy this endeavor, as Michael and I have in producing it.

    Rufus Reid - Dedicated to the memory of Red Mitchell and Sam Jones.

    Thanks to Bobby Perazo, owner of Zinno's restaurant, for giving us a great space and the opportunity to bring the basses down front. Thanks to Ned Mann, who is also an excellent bassist and for his wonderful engineering skills. Many thanks to J. D. Aebersold for accepting this project and including it in the Double-Time Records catalog.

    When thinking about this project, I remembered talking to Rufus some ten years before about doing something together. I asked the owner of Zinno's restaurant in New York, a place where we had both performed many times, if he would be interested in the two of us playing with just the basses on Sunday evenings, and to my delight, he thought it was an interesting idea. The subsequent four Sundays were crowded with quiet and attentive listeners. We were both pleasantly surprised by the turnout and our mutual excitement.

    It became clear to both of us that our styles were both contrasting and mutually supportive. Evolving together in the same generation of music, we shared similar backgrounds and musical experiences, however we also realized that although we came from the same generation, we approached the same material in our own way. Perhaps the same contrast could be likened to Don Byas and Ben Webster's versions of the same song.

    I'd like to thank Rufus for his enthusiasm, his perseverance, and especially for his marvelous playing. I'm also deeply grateful for Ned Mann's great work in capturing both of our sounds.

    Michael Moore