Sunday 22 November 2020

Whistlin' Alex Moore born 22 November 1899

Whistlin' Alex Moore (November 22, 1899 – January 20, 1989) was an American blues pianist, singer and whistler. 

Moore was born Alexander Herman Moore in Dallas, Texas. At the age of three, his family moved to El Paso, Texas but returned to Dallas three years later for his father's job, who was a professional candy maker. Although his family did not own a piano Moore learned the instrument by watching others, including a female cousin, and practicing on instruments he found around town. 

He also learned to play harmonica as a boy, and was a tap dancer and whistler. He took a more serious interest in playing piano in his mid-teens, although he never learned how to read music. In 1915 he performed on Dallas radio station WWR, and continued to play for tips at various social gathering places, including chock-houses (homes or stores where home-brewed alcohol was served) and juke joints in Dallas. 

After his father's death, he dropped out of school to support his mother and two siblings. He had become proficient on the piano before entering the United States Army in 1916. His overall sound during the 1920s combined elements of the blues, ragtime, barrelhouse boogie, and stride. Also in the 1920s he acquired his nickname, based on a whistle he made while playing the piano. 

                            

In 1929, he made his debut recordings for Columbia Records. The records he made did not sell in great quantities, and Moore did not record again until 1937, when a few of his songs were issued by Decca Records. 

However, throughout the 1940s and 1950s, he performed in clubs in Dallas and occasionally other parts of Texas. It was 1951 before Moore recorded again, with RPM Records/Kent after which he was almost forgotten but was rediscovered after Arhoolie Records signed him to a recording contract in 1960, and the subsequent recordings brought him nationwide recognition. 

Although he made recordings he had little interest in the commercial aspect, thus continuing his day job.. Throughout the course of his adult life, his non-musical jobs included hauling gravel, driving mule teams, washing dishes, working as a hotel porter, and as a custodian at office buildings. He retired from the last of those jobs in 1965. 

During the 1960s, Moore played at clubs and festivals in the United States and a few festivals in Europe. He toured with the American Folk Blues Festival in 1969, performing on the same bill as Earl Hooker and Magic Sam. The same year he recorded a session in Stuttgart, Germany, which led to the release of the album Alex Moore in Europe. He did not record again in either the 1970s or 1980s, but he continued to give live performances until his death. He remembered and sang again the blues he had recorded in the 1920s and 1930s, such as "West Texas Woman" and "Blue Bloomer Blues", with their touching and poetic lyrics. 

In 1987, Moore was granted a National Heritage Fellowship by the National Endowment for the Arts, becoming the first African-American Texan to receive such an honour. The year before his death, he recorded the album Wiggle Tail, his final session for Rounder Records. On November 22, 1988, the state of Texas designated his birthday Alex Moore Day. Although Moore played the piano for audiences around the world, he never considered himself a professional musician. 

Moore died of a heart attack on January 20, 1989 in Dallas, aged 89. He never married; he was survived by a son and daughter. He was interred at the Lincoln Memorial Cemetery in Dallas.

Music journalist Tony Russell wrote that "Moore was so odd a performer that some newcomers to the blues have been uncertain whether to take him seriously. By the time he became moderately well-known on the international blues scene of the 1960s and 1970s; his always singular style had burgeoned into florid eccentricity, and he would reminisce tirelessly in a foggy half-shout about youthful high times in his hometown, over skipping blues and boogie-woogie piano patterns with occasional bursts of shrill whistling. 

(Edited from Wikipedia) 

1 comment:

boppinbob said...

For “Whistlin' Alex Moore (1929-1951)” go here;

https://workupload.com/file/ApLnEjHnLUR

1. They May Not Be My Toes (1929) - Whistlin' Alex Moore (piano and vocal).
2. West Texas Woman (1929) – same as above
3. Heart Wrecked Blues (1929) – same as above
4. Ice Pick Blues (1929) – same as above
5. Rugger Blues (1929) - Nick Nichols (vocal), Alex Moore (piano).
6. Riverside Blues (1929) - same as above
7. Frankie and Johnny - Part 1 (1929) - same as above
8. Frankie and Johnny - Part 2 (1929) - same as above
9. It Wouldn't Be So Hard (1929) - Whistlin' Alex Moore (vocal and piano)
10. Blue Bloomer Blues (1929) - same as above
11. Back to Georgia Blues (1929) - Perry Dixon (vocal), Alex Moore (piano)
12. Be Mean To Your Baby (1929) - same as above.
13. Sundown Blues (1937) - Blind Norris (vocal), Alex Moore (piano and train sounds)
14. The Katy Blues (1937) - Blind Norris (vocal) and Alex Moore (piano).
15. Blue Boomer Blues (1937) - Whistlin' Alex Moore (vocal and piano)
16. Come Back Baby (1937) - same as above
17. Bull Con Blues (1937) - same as above
18. Hard Hearted Woman (1937) - same as above
19. I Want My Mary (1947) - Whistlin' Alex Moore (vocal and piano)
20. Miss No Good Weed (1947)- same as above with some whistling.
21. If I Lose you Woman (1951) - Whistlin' Alex Moore (vocal and piano)
22. Neglected Woman (1951) - same as above
23. Lillie Mae Boogie (1951) - same as above

----------------------------------------------------------
For “Alex Moore ‎– Wiggle Tail (1988)” go here;

https://workupload.com/file/bTLq35drVEw

1 Wiggle Tail 5:53
2 Everybody Have A Good Time 3:15
3 Chasin' Rainbows 11:34
4 Newest Blue Bloomer Blues 6:55
5 Elephant Brain Man 13:34
6 More Alex 6:33
7 Mistreatin' Women 4:43
8 Knockin' On My Door 3:28
9 My Daily Nutrition 5:31
10 Lonesome 3:54
11 Neglected Woman 4:18


Wiggle Tail turned out to be Alex Moore's final recording, and while that makes it a little bittersweet, it's nice that he was able to sign out with such a lovely album. There's nothing new here, to be sure, just Texas blues, but the years have been kind to Moore -- he's still able to play with grace and passion. These performances might not have the spark and excitement of his classic '50s recordings, but hearing an old master play the blues is always a welcome, revealing experience. (All Music)