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January 9, 2012
From an Interview with Kermit Moore
I’m told that Ron Carter always relied on you heavily in recording sessions that required string sections. And he’s not the only one: Judy Collins was quoted to the effect that whenever she walks into a studio and finds you there, she knows everything will be all right. Was it your recording career that introduced you to playing jazz?
Yes, when you make commercial recordings, you play everything and accompany everybody, from Leontyne Price to Lena Horne. From 1961, I worked regularly for ABC and CBS; some of the commercials and jingles I played are still being used. There were big names among my fellow cellists: George Ricci, Harvey Shapiro, David Soyer, Maurice Bialkin. I played with many jazz artists—McCoy Tyner, Sonny Stitt, Stanley Turrentine, Sir Roland Hanna—as well as the Bee Gees, Barbra Streisand, and, of course, Ron Carter and Judy Collins. I worked in the studios until 1988, but though I decided to stop at that point, I still do certain projects; for example, I recorded the sound track of The Goodbye Girl.
By Edith Eisler
Get valuable insight into the lives of some of this century’s most gifted cellists in this collection of fascinating interviews. Kermit Moore, Yo-Yo Ma, David Finckel, and others open up about how they got started, what cultural and historical forces shape them, how they practice, and what they still aspire to. With thoughts on what it’s like to be a soloist, member of an ensemble, composer, mentor, musical activist, and recording artist, this collection is a true treasure trove of knowledge and insight into the lives of modern day cellists at the pinnacle of their careers.
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