Paul Moer was a West Coast jazz pianist who in the 1950s and early '60s turned up on all the right albums led by superb musicians. Moer began his career with baritone saxophonist Bob Gordon on Meet Mr. Gordon (Pacific Jazz). He then played on albums by Jack Montrose, Billy Usselton, Maynard Ferguson, John Graas, Paul Chambers, Dave Pell, Jimmy Witherspoon and Paul Horn among others. That takes us to 1962. Then Moer dropped off the recording scene.
For the next 28 years, Moer worked up and down the West Coast, arranging, conducting, accompanying singers and leading trios. According to my brief search of West Coast newspapers, Moer was conducting Al Pelligrini's band behind singer Shani Wallis at the Westside Room in L.A.'s Century Plaza in 1969; in July 1974, Moer was leading a trio with bassist Jim Crutcher and drummer Jerry McKenzie in L.A.; in 1986, he was Barbara Eden's musical director in Reno; in 1989 he was at L.A.'s Verdi's.
In April 1991, Moer was coaxed into the recording studio by Fresh Sound's Jordi Pujol and saxophonist Dave Pell to record The Music of Elmo Hope for the Fresh Sound label. It was recorded at Sage & Sound Studio in L.A. Moer was joined by bassist John Heard and drummer Larance Marable (d). The album is exquisite. [Photo above of the late Dave Pell, left, and Jordi Pujol in the 1990s]
Let's zoom in on Elmo Hope. A close friend and admirer of bop pianist Bud Powell, Hope began his recording career in the late 1940s and early '50s as an R&B pianist. In 1953, he was recruited by Blue Note producer Alfred Lion to play on what was one of the earliest hard-bop recordings—the Lou Donaldson/Clifford Brown Quintet featuring Brown (tp), Donaldson (as), Hope (p), Percy Heath (b) and Philly Joe Jones (d). Hope's intoxicating originals De-Dah and Bellarosa and Carvin' the Rock, both co-composed with Sonny Rollins, were on the '53 album.
Throughout the 1950s, Hope recorded superb albums as a leader and sideman. Sadly, he struggled with heroin addiction, losing his New York cabaret license after a conviction, forcing him to move to LA. Upon his return to New York in 1961, drug and health problems limited his opportunities. After being hospitalized for pneumonia in 1967, Hope died several weeks later of heart failure.
Moer takes on Hope's music with enormous elan and sensitivity. Carvin' the Rock, One Second Please, So Nice and Happy Hour are especially beautiful. What makes this album so special is Moer's approach to Hope's music. Instead of employing a strict Bud Powell-like approach to Hope's music, Moer slows down the songs and lets you savor them, giving the music grace and poise. Moer had terrific taste, and we hear that here in his prancing solo lines and meaty chord voicings. This album is for anyone who loves pianists who can turn the compositions of grand artists into musical haute-couture collections sailing gracefully down runway.
Paul Moer died in 2010.
JazzWax tracks: You'll find Paul Moer Plays the Music of Elmo Hope (Fresh Sound) here.
JazzWax clips: Here's Elmo Hope playing his composition Happy Hour...
And here's the Paul Moer Trio's interpretation of the same song...
Here's Hope playing his own Minor Bertha...
And here's Moer's rendition...
