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JLP 38
Wild Bill’s Beat: WILD BILL MOORE Quintet

JLP-1 Front
JLP-1 back.jpg

Wild Bill Moore (ts) Junior Mance (p) Joe Benjamin (b) Ben Riley (drs) Ray Barretto (cng)

Recorded in New York City; January 25, 1961


  1. Heavy soul (6:43) (Bill Moore)

  2. A Good ‘Un (5:55) (Mance-Moore)

  3. Tearin’ Out (5:23) (Bill Moore


  1. Wild Bill’s Beat (6:46) (Bill More)

  2. Things Are Getting Better (5:09) (Cannonball Adderley)

  3. Bubbles (5:12) (Bill Moore)

  4. Just You, Just Me (5:13) (Klages-Greer)

   This is an album that has its heart and soul thoroughly steeped in the blues. Actually only three of the seven selections qualify as blues in the strict twelve-bar sense; but as everyone should know, words like “blues” and “soul” have very little to do with book definitions. They are a state of mind, and that state of mind is fully and consistently present here.

   If you are looking for delicate and subtle meanderings, please just go away quietly. But if you’re in the mood for something that swings and rocks and digs deep into the earthy soil of jazz, chances are that the beat and spirit generated by WILD BILL MOORE and company, will gas you Four of the tunes are by Bill: Heavy Soul, Wild Bill’s Beat, Tearin’ Out (named in honor of Moore’s pep-talk phrase before almost every take: “Let’s tear out!”), and Bubbles (a new version of a number that was a large-scale ht of 1948. A Good ‘un is a gospel-tinged item that is a joint creation of Moore and the soulful Chicago-born pianist, Junior Mance. There’s also cannonball Adderley’s down-home swinger, Things Are Getting Better; and Just You, Just me long a favorite vehicle for jazz blowing.

   Texas-born Williams M. Moore began his career in the 1930s, as an alto player. Among his early jazz memories is of playing at a jam session in Omaha in which the late great tenorman “Chu Berry also took part. Apparently impressed by Moore, Berry offered advice that night which Bill says has always played a big part in his attitude towards music. Said Chu: “Don’t ever be afraid to blow, no matter who’s in the house.”

   After a brief period in Detroit when he came close to giving up music for a career as a fighter, Moore made the switch to tenor and started keeping busy. He led his own group in the New England area; was a bandmaster during his Army service; worked with Red Allen and Ben Webster at the Garrick Lounge in Chicago; played with the big bands of Lionel Hampton and Louis Armstrong; ran mid-1940s modern jazz sessions in Los Angeles that featured such then-newcomers as Miles Davis and Sarah Vaughan; toured with one of the first “Jazz at the Philharmonic” groups – to pick just a few highlights out of a hectic and traveled career.

   Late in 1947 he returned to Detroit and recorded Bubbles and a number titled We’re Gonna Rock, We’re Gonna Roll (credited with actually providing the name for you-know-what kind of music). By a reverse twist these two hits, which had an appeal spilling far outside the borders of the jazz area, created a demand that brought Moore into the rock and roll field, except for only occasional jazz appearances, for several years.

Now Wild Bill is making his move back to jazz. He is sparked here by the firm rhythm backing of Ray Barretto on conga, bassist Joe Benjamin and drummer Ben riley, and gets a particularly strong helping hand from the funky piano of Junior Mance (who has been featured with Cannonball Adderley and Dizzy Gillespie and is now leading his own trio). From where we sit and listen, it sounds as if Wild Bill has certainly found his way back home.

Recent JAZZLAND releases include:

  Lookin’ at Monk – Johnny Griffin and Eddie ‘Lockjaw’ Davis – JLP 39 & Stereo 939S

  The Soulful Piano of Junior Mance – JLP 30 & Stereo 930S

  Getting’ Together – Paul Gonsalves, with Nat Adderley – JLP 36 & Stereo 936S

  Gemini – Les Spann, flute and guitar – JLP 35 & Stereo 935S

Notes written by PETER DREW

Cover designed by KEN DEARDOFF

Cover and back-liner photographs by STEVE SCHAPIRO

Recording Engineer: RAY FOWLER

Recorded at Plaza Sound Studios

Mastered by JACK MATTHEWS (Components Corp.) on a HYDROFEED lathe


235 West 46th Street, New York 36, New York

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