Brew Moore In Europe (1962) Trio Japan

 

brew-moore-front-1600-ljc2

Track Selection: Piger, which apparently translates as “Girls” in ..umm.. Scandinavian. (Shihab)

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Incredible music, amazing, Danish jazz  from 1962, Sahib Shihab, improbably on alto, but Lars/Lasse Gullin pushes him off baritone as the local star on the big beast and the tenor position already taken by the leader, Moore.

Artists:

Sahib Shihab (as) Brew Moore (ts) Lars (or Lasse) Gullin (bars) Louis Hjulmand (vibs) Bent Axen (p) Niels-Henning Orsted Pedersen (b) William Schiopffe (d) recorded Copenhagen, Denmark, September 26, 1962

Brew Moore bio Probably more commonly known as Brew-who? Moore played tenor in the manner of Lester Young, and was famously quoted for saying “Anyone who doesn’t play like Lester Young is wrong“, a statement which any astute publicist would conclude was not a helpful  signpost to their future career. A talented musician, constantly on the move, but dogged by bad timing.

A regular on the 50’s  Greenwich Village scene, he sat in with Charlie Parker, and recorded as a leader for Savoy then Fantasy, but never managed to capture the attention of the big New York labels like Blue Note or Prestige that would have propelled his career into the limelight. In the mid Fifties, just as the  New York jazz scene was hotting up, Brew moved west, to San Francisco.

In 1961, three or four years ahead of the curve,  Moore left the States for Scandinavia, finding  work in Sweden and Denmark, in the company of other Americans who had taken up residency there. In the years that followed, he moved between the US and Europe, recording for Debut, Steeplechase, Sonet, and Storyville,

His career ended abruptly after a gig in Copenhagen on March 19th 1973, when he fell down a restaurant flight of stairs and died in the ambulance on the way to hospital, just one week short of his forty-ninth birthday. A tragedy, but a less exotic jazz exit compared with bad drugs, cheated girlfriends with guns, and more mundanely, other people’s bad driving.

Beat Generation guru Jack Kerouac  lionized the tenor man in great detail in his novel ‘Desolation Angels.’ Brew’s is music is found on only a few recorded works, but his saxophone, like that of Charlie Parker, lives on as a collector’s item.

Music:

A fabulous pot-pourri of three stunning energetic brass players underpinned by the Scandinavian rhythm section of choice. On bass, the man with too many names, Niels-Henning Orsted-Pedersen (or N-hop), on piano, the man with a name straight from a collision damage report,  Bent Axen, and on drums, a man whose name even he has difficulty spelling, William Schiopffe. (Apologies to our Scandinavian friends, a litttle harmless  fun. Please don’t go). The Danish Radio Jazz Orchestra, a great ensemble, included some of the players here.

Vinyl: originally released as Debut DEB 137 and Fantasy LP (8)6013

290325189960[1]A Japanese reissue by Trio Electronics, of Trio-Kenwood Hifi, in conjunction with Alan Bates’ UK label Black Lion Records, founded in 1968, which also licensed the later works of Thelonious Monk and Ornette Coleman among others.

Weight 120gm vinyl, Stereo, typical of Japanese pressings of the Seventies and Eighties, though no indication when this was pressed .Fascinating that the label design should acknowledge the Black Lion provenance, perhaps indicating a complex licensing arrangement to bring this recording legally to the Japanese market. Its not a bad pressing, but has to be said, it could be a better pressing.

Brew-Moore-labelst-1600

 

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Collectors Corner

Source: Ebay

Sellers Description   STEREO JAPANESE ISSUE ON TRIO RECORDS/BLACK LION. RECORDED 1962. Vinyl LP. FEATURES MODAL DANCE TRACK ‘PIGER’ PERFORMED AND WRITTEN BY SAHIB SHIHAB.

Grading: Vinyl: MINT-    Cover: EX+

I can recall chasing an original copy a few years back, making a laughable bid as the price shot into the stratosphere. Now I know why. Amazing record I had a tough fight on my hands even for this modest little Japanese press (eight bidders)

I suspect it’s the “Modal Dance” handle that spiked interest. Suddenly it’s afternoon, the DJ Tendancy wake up in their East End DJ Collective commune, break open the aluminium 12″ record case they keep their sandwiches in (it’s the New Tupperware), fire up their smartphone’s Ebay app and get bidding on any permutation of the words Modal, Jazz, and Dance in the description. Good company to be in, eh?

You have not heard the last of Brew. A very tasty Savoy is winging its way from the Netherlands to the UK at this very moment. For one, I can’t get enough of this American/Swedish Danish jazz, it’s great. May be there’s a word in Scandinavian for that?

PARENTAL ADVISORY: This post includes childish and mildly offensive references to: inhabitants of Nordic countries with funny names, Disc Jockeys and possibly other minority groups in need of taking down a peg, and a tangental reference to San Francisco. If you want to see other groups of people, cities or countries slighted or mocked, please be patient, I’ll get round to you.

POSTSCRIPT

Original Debut just came, and went. £300+ out of my league, shame. Real nice condition too

BewMoorDebut sold£319

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18 thoughts on “Brew Moore In Europe (1962) Trio Japan

  1. It’s always fun reading the commentary on London Jazz Collector. I am sometimes puzzled by the lengths some collectors go to find and purchase a record that delights them. I have more than 10,000 12-inch LPs and more than 300 10-inch LPs–Jazz only. I started buying when the LP first became available back in 1949. That may be why I have never gone to great lengths to obtain anything. The most I may have paid for a 12-inch LP may be about $50.00. That was for Handyland USA by George Handy. The most I have so far spent on a record was $75.00 for a mint Dial 78 record by Fats Navarro with Don Lanphere. I consider myself lucky because I have never purposely set out to find and buy a particular record. I rely almost completely on chance.

    • You are indeed fortunate to have been around at exactly the right time Geoffrey, and fortunate to have somewhere to store such a big collection. Mrs LJC is convinced I have too many records (1,500) and when I come home with a new purchase, it usually elicits: “What, more records!?”

      As long as people want to acquire them, scarcity will be attenuated by price. The most scarce are now so expensive I have lost any wish to acquire them. Better to seek out the next best affordable alternative.

      However, records are the new antiques. All you are doing is temporarily turn money into records, enjoy them, and the value is still there if you decide to turn them back into money. The same trick can not be done with holidays, fine dining or wine, or many of life’s other pleasures. In that respect it is an extremely cheap hobby, or I am trying to convince myself, having just blown my budget on one record I most desired.

  2. I picked up a promo copy of this one at a flea market a few years ago. “Audition Record” stamped on the back of the jacket. “Promotional Copy” and “Not For Sale” printed on the label. Black vinyl, red / maroon label, deep groove. Vinyl is nice and clean. Had no idea who Moore was, I was more interested in hearing Shihab. Got lucky for a change.

  3. Piger is a fantastic track indeed. I very much regret not buying this record when I had the chance – a US copy for 40 euros in a local store – a few years ago.

  4. I never saw the Japanese reissue before,it is definitely a rare record.What puzzles me is that the cover is in black and white,while we know that the Japanese are always keen in reproducing the cover in it’s original form.I bought the original some 20 years ago from a Dutch collector who didn’t like the music.I paid 10 guilders and I still cherish it.As you know the sound quality of the original Debut’s was not terrific(in comparison with for instance Esquire)I assume the Japan reissue sounds better.

    • Hi Kees, I am inclined to agree, the choice of black and white for the cover seems strange given the original exists in colour. Smacks of some loopy art-director deciding to create a “60’s retro” look, like the label with its “torn fragment from the past” not how real 60’s covers felt, with their thick cardboard and beautiful laminated cover art.

      With sound quality you never know where any weakness originates, was it already present in the original recording, the tape, introduced in the remastering or the pressing? Or is it your listening system?

    • And Kees, since you’re a Dutch cat like me: you, too, must know of the incredible poem that Dutch writer, poet and jazz drummer Jules Deelder wrote for Brew Moore. In his poem he claims that Moore died a day too early, as a letter that was sent to him stating that his aunt had died and that she left her entire estate to Brew, was returned to sender…

      Anyway, too bad I don’t have an English translation of it, but still: the video below begins with that particular poem:

      • Cool, I understood most of it. Well OK, I exaggerate, not a word of it, but its a great story. A talented man, dogged by bad timing, right up to the very end. Following the links to your Dutch poet I came across a You Tube of the very same Brew Moore album that is on its way to me right now – of all things, from a Dutch Seller. I know its a small world but every day it keeps shrinking more and more!
        A preview:

        (Needless to say mine is the original Fantasy, not the OJC pictured)

        • Fantasy? Rare brew found on 3-211. The album: Tjader plays Tjazz. First class Moore, with Sonny Clark on the piano.
          Acquired the album in what can be described as a collectors’ nightmare. The place: Collins Ave. in Miami Beach, mid-Summer, no airco. Alone in a shop with an old owner, obviously lost and hoping to liquidate his business. Many hundreds of thousand albums, just that, from the bottom to the ceiling. The only service I got was a ladder. Gee, what a heat just under the ceiling. Particularity: the vinyl was stored separate from the sleeves, which does faclitate the search! I came after many hours of sweating with a bunch of records to check out and pay. Hiccup, the guy could not find the matching sleeves. Told me to come back the next day, no guarantees though. In the end i went off with 3-211 and Fantasy 3-213 (Modern Music from San Francisco – Jerry Dodgion and Billy Wallace on GIG Records, Chicago. Billy was a one-time pianist with Max Roach – Jazz in 3/4 Time on EmArcy.

          • A short but entertaining story, Rudolf. Please, why don’t you write a guest article here on LJC? We have all read so many other “collector’s stories” that, for instance can be found on Jazzcollector.com and they never get old and are always entertaining.

            In other words: tell us some more of these great adventures in record collecting. I’m sure that the other visitors here would love to read them, too! 😉

            • Mattyman: this horror story in Miami Beach came to my mind as I came across the Tjader/Brew Moore album bought there. I recognized it as the guy had hand-written the title on a brownish sort of paper ( bruin pakpapier), which served as inner sleeve (Fantasy albums came without inner sleeves, at least the first pressings in the mid-fifties). Since Brew Moore happened to be the topic on LJC I came with the story on LJC, otherwise it would have remained unwritten.
              In short, to give you a direct reply, the occasion should present itself, for me to note down these recollections. (like my Prestige adventure when we were discussing Bob Weinstock on Jazzcollector.com.)

  5. I enjoy your posts, and many times they feature records I used to own. Since I started buying records back in 1964 many have passed through my hands, kept or sold or stolen or and it is fun to see past possessions again.
    I remember this record and wondering about the cover. It seemed like the photos of Brew and Lars/Lasse were superimposed and why is Shihab’s head in the well?

    • Hi Lennie, always good to get feedback. As your “chaufeur”, glad you are enjoying the ride. You must have had some collection at one time – these records are all first-time around for me.
      The cover photo is sort of odd, but looking at Brew and Gullin, the shadows fall with the light from the same direction, looks natural, and Sahib is joking around behind a flower tub. Francis Wolff would have looked for the character in the faces, and the instruments being played, rather than posed with. Just as well the music doesn’t stand or fall by the cover. But I have seen worse.

      • I had the Fantasy issue back in the day. Was always undecided over Brew Moore. Stan, Al, Zoot, Allen, Brew all those Lesterlike tenormen, guess I preferred the Pres. Yet seeing this record again made me wish I kept it. I mean how was I to know modal dance would be the next big thing? And Shihab being in demand?
        By the way, Mr. LJC, all your “chauffeured trips” are most enjoyable!!

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