Oscar Moore (1916-1981) is best known for his role as the guitarist in the Nat King Cole Trio from 1937 to 1947. His sophisticated and fluid guitar playing is featured on nearly every recording the group made during that period, including Cole’s early hits and numerous instrumentals. As one of the early electric guitarists, Moore drew inspiration from Charlie Christian, yet developed a distinct style that set him apart. Whether playing relaxed solos across various tempos, interacting seamlessly with Cole’s piano, or providing tasteful accompaniment to vocals, Moore’s approach was always thoughtful and innovative.
A three-CD set from the Fresh Sound label, titled The Enchanting Guitar of Oscar Moore, focuses on the years 1945 to 1965, showcasing Moore’s extensive career. The collection includes three instrumentals with the King Cole Trio, recorded from radio transcriptions, and two tracks from 1945 where Moore accompanies Anita O’Day on vocals (“Penthouse Serenade” and “I Can’t Give You Anything But Love”). While the majority of the set features Moore in various other musical contexts, it is clear that his versatility extended beyond his tenure with Cole.
Moore’s brother, Johnny Moore, led the Three Blazers from 1944 to 1957, a group that had the same guitar-piano-bass configuration as the Nat King Cole Trio. The Three Blazers enjoyed notable success, especially during the period when Charles Brown was their singer-pianist from 1945 to 1947. Oscar Moore recorded with his brother’s group on several occasions, and six selections from 1945—two with singer Frankie Laine—are included in this reissue. After leaving Cole’s group in late 1947, Moore became a regular member of the Three Blazers, which by then had transformed into a two-guitar quartet.
In retrospect, it might have been more beneficial for Oscar Moore to venture out on his own at this point. The departure of Charles Brown from the group led to a decline in the popularity of the Three Blazers, despite the strong guitar interplay. Thirteen tracks from this period, which spanned into 1952, reveal the group’s signature swing and blues-infused ballads. While the music was generally of high quality, it lacked the originality to sustain its popularity.
The first disc in this reissue also features Moore playing “Speedliner” with saxophonist Illinois Jacquet and accompanying a variety of vocalists, including a young Ray Charles on “Baby Let Me Hold Your Hand.” The final two CDs capture Moore in prime form, leading sessions throughout the latter part of his career, from 1952 to 1965. These sessions feature Moore in both trio and quartet settings, often with pianist Ernie Freeman, bassist George Bledsoe, and occasionally Lee Young or George Jenkins on drums, as well as Mike Pacheco on bongos. Despite the quality of these recordings and Moore’s exceptional playing, most of this music was only available as radio transcriptions or on small, short-lived labels like Skylark and Tampa. One notable project, recorded in late 1956, had Moore overdubbing both solo and rhythm guitar alongside bassist Leroy Vinnegar. Unfortunately, this music was only available on reel-to-reel tapes for decades.
Oscar Moore’s career did not receive the attention it deserved after his time with Nat King Cole. Despite his substantial talent, Moore faded from the public eye, leaving the music scene entirely in 1957 to work as a bricklayer. In 1965, following Nat King Cole’s death, Moore was persuaded to return to music for one final album—a trio record with pianist Gerald Wiggins and bassist Joe Comfort. The album, which included renditions of songs previously recorded by Cole, was a reflection of Moore’s enduring skill. At just 48, he sounded excellent on classics like “It’s Only a Paper Moon,” “The Christmas Song,” and “Sweet Lorraine.” Although Moore lived for another 16 years and reportedly worked with Helen Humes in the 1970s, he never recorded again.
This three-CD set, accompanied by a 28-page booklet featuring definitive liner notes by Fresh Sound’s owner and producer Jordi Pujol, offers a well-deserved tribute to Oscar Moore’s contribution to music. Beyond his association with Nat King Cole, Moore remains a guitarist worthy of recognition and appreciation for his lasting influence on jazz and popular music.
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