An excellent guitarist influenced after 1939 by Charlie Christian, Oscar Moore was an invaluable part of the Nat King Cole Trio during 1937-1947, appearing on virtually all of Cole's records during the period. He also recorded with Lionel Hampton, Art Tatum (1941), the Capitol Jazzmen, and Lester Young. Unfortunately, Moore's post-Cole career was not very successful. He played with his brother Johnny Moore in the Three Blazers from 1947 to the mid-'50s (the group declined in popularity after pianist/singer Charles Brown left) and he recorded three records for Verve and Tampa during 1953-1954, but then was left largely outside of music with the exception of a 1965 Cole tribute album. Guitarist - Wikipedia, the free encyclopedia /**/ @import /skins-1. ... Charlie Christian (July 29, 1916 – March 2, 1942) was a jazz guitarist and an innovator in the field of electric guitar. ... Nat King Cole (March 17, 1919 – February 15, 1965) was a hugely popular American singer and jazz musician. ... Lionel Hampton (April 20, 1908 - August 31, 2002), was a bandleader, jazz percussionist and vibraphone virtuoso. ... Art Tatum (October 13, 1909 - November 4, 1956) was a famous American jazz pianist known for his virtuosic playing and creative improvisation. ... Lester Willis Young, nicknamed Prez (August 27, 1909-March 15, 1959) was an American jazz tenor saxophonist. ...
Moore said the bin Laden family was heavily invested in the Carlyle Group, a private global investment firm that the filmmaker said frequently buys failing defense companies and then sells them at a profit.
Moore told Variety the primary focus of the new project will be to examine what has happened to the United States since the Sept. 11 terrorist attack.
Moore said he expects the new movie to be in U.S. theaters in time for the 2004 presidential election.
OscarMoores guitar licks are among the most memorable in Americana, though his name may not draw knowing nods from the listeners of today.
Moores innovations fill the gap in the crucial period beginning with the death of Christian in 1942 and the emergence of new players like Barney Kessel, Johnny Smith, and Tal Farlow in the late 40s and early 50s, though he was not part of that particular stream.
Moores blue-toned melodic bent is maintained through the end of the phrase with greater emphasis on the F# and C notes in the riff-like figures of bars 3 and 4.
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