Daily Dose Of Jazz…
Michael Moore was born December 4, 1954 and raised in Eureka, California. He studied music at Humboldt State and in 1977 graduated from the New England Conservatory of Music, where he studied with Jaki Byard and Gunther Schuller, and was a classmate of Marty Ehrlich. He played in a variety of musical contexts, especially those in support of theatre and dance groups.
By 1982 he was a regular member of Misha Mengelberg’s Instant Composers Pool and had moved to Amsterdam. He was also a member of Georg Gräwe’s Grubenklang Orchester. Michael is one-third of the Clusone Trio with cellist Ernst Reijseger and drummer Han Bennink. Originally meant only to play a single date at a festival in Clusone, Italy, the trio toured irregularly for several years and recorded six albums, including one of freely-interpreted Irving Berlin compositions.
His debut recording as a leader was in 1992 but it was with 1994’s Chicoutimi that he began to earn recognition as a composer. The drummerless trio on this album had Fred Herschon piano, and bassist Mark Helias was inspired by the duo recordings of Lee Konitz and Gil Evans.
He put together a jazz quintet in 2005 and the album Osiris. In 2013, he performed with InstanPool, a group of international musicians making improved music and occasionally playing a composition.
Saxophonist and clarinetist Michael Moore, who has recorded twenty-two albums as a leader, continues his journey in performing and recording.
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Requisites
1958 Miles ~ Miles Davis | By Eddie Carter
Throughout his career, Miles Davis was widely regarded not only as a leading figure in jazz but as a monumental presence in music as a whole. He consistently demonstrated his influence by producing an impressive array of records that have remained influential over the years, offering critics, listeners, and fellow musicians more to consider and appreciate than most artists across any musical style. This morning’s album up for discussion is 1958 Miles (CBS/Sony 20AP 1401). Interestingly, this record did not see a complete release in Japan until 1974. Tracks: A1 to A3 were initially released on “Jazz Track” in 1958. Track B1 later appeared on the 1975 double album “Black Giants, ”while track B2 appeared twice in 1973, on the compilations “Basic Miles—The Classic Performances of Miles Davis” and the CBS/Sony Japanese release “The Miles Davis Quintet & Sextet.”
By the time he recorded this album, Davis had brought in some new talented musicians to his group. Red Garland and “Philly” Joe Jones had left, and in their places, pianist Bill Evans and drummer Jimmy Cobb joined the band. Rounding out the ensemble are Julian “Cannonball” Adderley on alto sax (tracks: A1, A2, B1), John Coltrane on tenor saxophone (tracks: A1 to B2), Bill Evans (tracks: A1 to A3, B1), and Red Garland on piano (track: B2). On bass, Paul Chambers is featured on track B2, while Jimmy Cobb (tracks: A1 to A3, B1) and “Philly” Joe Jones (track: B2) keep the rhythm going on drums. The copy of the album I used for this report is the 1979 Japanese Mono Reissue.
Side One kicks off with the timeless song On Green Dolphin Street by Bronislaw Kaper and Ned Washington.Initially written for the 1947 film “Green Dolphin Street”, it’s Miles Davis’s version that truly made it a jazz standard we cherish today. He starts his soulful dialogue on the muted horn, with the trio providing a relaxed, friendly groove around the melody. His energetic lead solo radiates positive vibes, sizzling at a comfortable medium heat, while Coltrane responds with a lively, lyrical interpretation. Cannonball adds his beautiful touch on the third reading, and Evans plays just as wonderfully, culminating in a joyful moment before Miles wraps up the song with a satisfying finish.
Fran-Dance is a heartfelt tribute from Miles to his second wife, Frances Taylor. I first heard this beautiful tune on the 1961 live album, “Miles Davis In Person, Saturday Night at The Blackhawk, San Francisco, Volume 2.” Miles, playing a gently muted trumpet, creates a beautifully dreamy theme that feels warm and inviting, ending with a rich, mellow note. Coltrane’s opening is so lush that it feels like it melts right into your heart. Cannonball's tender, slightly fragile tone adds a delicate touch to the next performance, and Evans approaches the finale with such fingertip delicacy that it becomes one of his most touching ballad performances.
The 1944 jazz classic Stella By Starlight, by Victor Young with lyrics by Ned Washington, provides a graceful ending to the album’s first side and stands as a cherished staple of The Great American Songbook. Cannonball takes a reflective moment to appreciate this enduring masterpiece, highlighting the remarkable solos by Miles, Coltrane, and Evans. The enchanting atmosphere is set immediately with the opening chorus, as the muted trumpet conveys each phrase with deep emotion. Coltrane delivers a powerful, regal rendition, seamlessly leading into Evans’ exquisite solo, which builds to a memorable climax.
Love For Sale, by Cole Porter, made its first appearance in the 1930 musical “The New Yorkers.” The song’s lyrics paint a vivid image of a streetwise woman offering love for purchase, and it has become one of Porter’s most frequently covered songs. Notably, Cannonball and Miles recorded their own rendition just two months earlier for the 1958 album “Somethin’ Else.” Miles opens with a brisk, upbeat introduction, playing with a mute and delivering a truly memorable highlight. Following that, Cannonball takes over and shines brilliantly. Evans then immerses himself in the closing statement, providing a remarkable performance before the group’s theme reprise concludes.
Jackie McLean’s composition Little Melonae made its debut on his 1955 album, “Presenting Jackie McLean”, and is dedicated to his daughter. Cannonball Adderley also doesn’t perform on this track. The quintet introduces the tune with a unified statement of the melody, followed by a captivating solo from Miles Davis, who opens with the mute off, adding a striking touch. John Coltrane responds with heartfelt sincerity in the following statement. Red Garland impresses with refined technique and elegance on his only appearance on the album. Paul Chambers briefly steps into the spotlight, after which the quintet brings the song to a close together.
Teo Macero produced the album, and Larry Keyes carefully engineered each recording session. The sound quality is absolutely stunning across all ranges—treble, midrange, and bass—creating a rich, immersive experience. The sextet’s performance surrounds your favorite listening spot with a beautifully solid soundstage from the instruments, making every note feel alive. Since this is a Japanese release, 1958 Miles might be a bit tricky to track down on your next vinyl hunt. But with a little patience, you’ll be rewarded with an extraordinary album that would make an excellent addition to the Hard-Bop section of your library. It also offers a fresh perspective on Miles Davis’s sound in the Modal style, which reached its peak a year later with “Kind of Blue!”
~ Basic Miles-The Classic Performances of Miles Davis (Columbia KC 32025); Black Giants (Columbia KG 33402); Jazz Track (Columbia CL 1268); Kind of Blue (Columbia CL 1355/CS 8163); Miles Davis In Person, Saturday Night at The Blackhawk, San Francisco, Volume 2 (Columbia CL 1670/CS 8470); Presenting Jackie McLean (AdLib 6601); Somethin’ Else (Blue Note BLP 1595/BST 81595); The Miles Davis Quintet & Sextet (CBS/Sony SOPM-140) – Source: Discogs.com
~ On Green Dolphin Street, Love For Sale – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Adam Nussbaum was born in New York City on November 29, 1955 and grew up in Norwalk, Connecticut. He first played the drums at the age of four, however, it wasn’t until after five years of piano study that he got his first drum set when he was around twelve. He went on to study music at the City College of New York, during which time he also played in local clubs.
1978 saw Adam joining Dave Liebman’s quintet and did his first European tour with John Scofield. He played with saxophonist Stan Getz for a year in 1982. The following year he became a member of the Gil Evans Orchestra, and toured Europe and Japan two years later.
Joining the Eliane Elias/Randy Brecker Quartet, Gary Burton, and Toots Thielemans, by 1987 he began touring with Michael Brecker’s band. He was a member of Brecker’s Grammy award-winning album. Don’t Try This At Home. In 1991 John Abercrombie hired Nussbaum to complete his organ trio and during 1992 Nussbaum was part of the Carla Bley Big Band.
He has kept active in a wide variety of groups and as a freelancer. His quartet recording debut as leader in 2018 was The Lead Belly Project, released on Sunnyside Records.
Drummer Adam Nussbaum continues to perform and record.
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Daily Dose Of Jazz…
Rolando Matias was born on November 20, 1957 in Cupey Alto, San Juan, Puerto Rico. A self-taught musician, he applies his formal training as an architect into his musical education. He started playing percussion at a young age at the local Bembes, a neighborhood gathering where rumberos jam and improvise together.
Rolando has performed or recorded with Chuchito Valdez, Benny Maupin, Leon ..Ndugu.. Chadler, Azar Lawrence, Othello Molineaux, Mimi Fox, Bobby Matos, Bobby Sanabria, Bill Summers, Lenny Castro, Eddie “The Chief” Clearwater, Kenny Neal, Duke Robillard, Cleveland Roberto Ocasio, David Sanchez, and the list goes on and on.
His projects vary from Rolando Matias & The Afro-Rican Ensemble, Afro-Latin-BeBop, Latin-Soulsa & Jazz RM:Intrin-x-ico, Afro-Jazz Rolando Matias & Cuba-son Salsa na ma!, and Afro-Latin-Hip/Hop.
Percussionist Rolando Matias, who plays congas, bongos, cowbells, bata drums, hand percussion, claves, guiros, and maracas, etc, continues to perform and explore music from the African Diaspora.
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Daily Dose Of Jazz…
Chris Flory was born November 13, 1953 in New York City, New York and began playing guitar in his early teens. Around that time he heard his first jazz album, Forest Flower by Charles Lloyd. He was influenced by seeing live performances of Jimi Hendrix, B. B. King, and Rahsaan Roland Kirk during the late 1960s. Through his friend Scott Hamilton he met musicians and while babysitting the children of Gil Evans he listened to albums by Nat King Cole, Miles Davis, Charlie Parker, and Lester Young. His music has been inspired by Charlie Parker, Charlie Christian, T-Bone Walker.
In his early teens Flory played in rock bands but three years later had a couple jazz lessons with guitarist Tiny Grimes. In the early 1970s he studied at Hobart College, and performed with Hamilton intermittently from 1975 through the early 1990s. He began to record his own albums as a leader after Hamilton’s quintet broke up.
From 1977 to 1983 Chris played in the Benny Goodman Sextet, then worked with Ruby Braff, Judy Carmichael, Roy Eldridge, Illinois Jacquet, Buddy Tate, Bob Wilber, Milt Hinton, Hank Jones, Duke Robillard, and Maxine Sullivan.
Guitarist Chris Flory, who has recorde six albums as a leader and as a sideman twenty-eight, continues to perform and record.
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