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ramboy 14
€12.00
Michael Moore, alto saxophone, clarinets, piano, whistle; Barry Block, tenor saxophone, clarinet; Stuart Curtis, tenor and soprano saxophones, whistle; Jimmy Sernesky, trumpet; Gregg Moore, trombone, tuba, electric bass, mandolin; Michael Vatcher, drums, percussion, voice, zither, harmonica, violin




 







 

1. Natives (S. Curtis) 1:30
2. Salt Peanuts (J.B. Gillespie) 4:20
3. B.B.C. 3:28
4. Rat Dance 3:08
5. D.F.U.T.C. (S. Bergin) 2:18
6. Drum Duet 2:29
7. Procrastination 5:04
8. Op Zdrin Zdrin (traditional Vlasi) 1:54
9. I Feel Good (J. Brown) 3:25
10. On The Rag 2:20
11. Star Wars 3:16
12. As Tears Go By (Jagger/Richard) 3:17
13. Eighth Street Polka 3:16
14. La Gradisca Si Sposa E Se Ne Va (N. Rota) 3:12
15. Giglio (traditional Italian) 1:32
16. Graveyard Clowns 2:37
17. Fables Of Faubus (C. Mingus) 4:10
18. Palomka (traditional Serbian) 2:03
19. [If The] Misfits [Wear It] (K. Jarrett) 3:13
20. Hinde-Wu 3:58
21. Two Reeds (M. Vatcher) 3:12
22. Players 1:43
23. Gwidza (A. Ibrahim) 3:12


Composed by Michael Moore except as noted

Recorded 3-12-1984, Studio 44, Monster, Netherlands
   

Playful, theatrical pieces from the original Jelly line up. The repertoire 
includes covers of Mingus, Rolling Stones, Rota, Vlach, and Italian 
folk music as well as some hardy originals.

"The collective calling itself Available Jelly is a five-horn sextet having a fun time interacting on mostly original material but also with several well-known Jazz and traditional vehicles on this 1984 recording. Multi-reedists Moore, Curtis and Block team with brass players G. Moore and Sernesky to promote a large ensemble sound while Vatcher provides the rhythm through his percussion and string supplements. The session comes off as a type of review where the tightly structured program acts as a gateway for more raucous playing in the Dutch tradition of musical theater. Moore contributed about half of the songs, all of which rely heavily on written ensemble parts capable of being transformed into improvising gems of light-heartedness. Operetta-style singing is infused on a few occasions to reinforce the theatrical concept of the production, but it is generally used for effect before the band takes flight with riotous playing. Moore moves over to the piano stool on "On the Rag" to add some ragtime gaiety to the festiveness while G. Moore puffs along on tuba. Organ grinder, parade, polka, circus, and other forms of European ethnicity take hold, and the program swells with the humorous/serious improvisations overlaid by the band. Even Mingus's "Fables of Faubus" is given frolicsome treatment. Available Jelly had a good time making this recording, and you can share in the party with this reissue." Frank Rubolino, Cadence, April, 2001