Music Program
 

Saturday, September 26, 2009 at 8:00 p.m.

$10 general admission, $8 members/students/seniors

To learn more about the benefits of becoming a member, please click here.

Digital Primitives

 

Cooper-Moore (piano, homemade instruments, voice)
Assif Tsahar (tenor sax, bass clarinet)
Chad Taylor (drums, percussion)

Digital Primitives at Hopscotch Records.
Digital Primitives on YouTube

"I wouldn't count on hearing another one like this anytime soon, but for now it's the freshest thing around." — Brain Morton, The Wire

" 'phantastic' is too small a word. So is 'excellent' and even 'amazing.' These superlatives, wild and right as they are, downplay the show of 'Digital Primitives' as they do not express the main feeling that arose in the lucky ones who saw them in action — happiness in the face of the rare meeting with music in its most pure and free manifestation. Music that emerged from a deep, primal even childish place, where the accepted distinctions between simple and abstract, serious and eccentric, accessible and esoteric seem artificial and fake." — Ben Shalev, Ha'aretz

Cooper-MooreAs a composer, performer, instrument builder/designer, storyteller, teacher, mentor, and organizer, Cooper-Moore has been a major, if somewhat behind-the-scenes, catalyst in the world of creative music for over 30 years. As a child prodigy Cooper-Moore played piano in churches near his birthplace in the Piedmont region of the Blue Ridge Mountains of Virginia. His performance roots in the realm of avant jazz music date to the NYC Loft Jazz era in the early/mid-70s. His first fully committed jazz group was formed in 1970 — the collective trio Apogee with David S. Ware and drummer Marc Edwards. Sonny Rollins asked them to open for him at the Village Vanguard in 1973, and they did so with aplomb. A recording of this group was made in 1977, and later issued as Birth of a Being on hatHut under Ware’s name. Following an evidently rather trying European tour with Ware, Beaver Harris, and Brian Smith in 1981, Cooper-Moore returned home and completely destroyed his piano, with sledgehammer and fire, in his backyard. He didn’t play piano again until some years after, instead focusing his energies from 1981-1985 on developing and implementing curriculum to teach children through music via the Head Start program. Returning to New York in 1985, he spent a great part of his creative time working and performing with theatre and dance productions, largely utilizing his hand-crafted instruments. It was not until the early 90s, when William Parker asked him to join his group In Order To Survive, that Cooper-Moore’s pianistic gifts were again regularly featured in the jazz context. In the early 'aughts the group Triptych Myth was his own first regular working jazz group in decades and together they blazed some trails (may again!) and released two albums; one rich formative, one exquisite. Cooper-Moore's creative story continues well-strong and unabated into the present day. -SJ

"One of the most potent musicians ever." — Phil Waldorf, Other Music


Some publications related to this event:
September, 2009 - 2009