James Moore: The Hunt for Sonic Solutions
With three guitars, fifteen balloons, a talking doll, and a serious commitment, composer and guitarist James Moore recorded John Zorn’s The Book of Heads, a challenging collection of 35 etudes now available on a CD/DVD set from Tzadik.
This scene—captured as part of an absorbing CD/DVD recording of the work that he released last month on the Tzadik label—is overlaid with Moore’s self-effacing laughter, but his performance of the music itself sees him navigating reams of such non-traditional tasks with remarkable focus. While the etudes are billed as being composed for solo guitar, their presentation actually requires an additional arsenal of sound-making tools which Moore also manages, here including “fifteen balloons, two violin bows, three mbira keys, a slide bar, nail file, spring, metal rod, ratchet, pipe cleaner, talking toy, finger cymbals, thirty grains of rice, some Styrofoam, and an extra string.” With a supply list like that, it perhaps goes without saying that some serious interpretive powers on the part of the player serve an essential role in the presentation of the music as well.
“I guess that idea of problem solving is something that’s always intrigued me. Now I’m older and jaded and a little stuck in my ways in some ways, but I hope I still have that desire to solve things and to seek out new sounds.”
It’s an instinct that he can actually trace back to his early studies.
“I was sort of always drawn to the more unconventional side of things,” Moore says, recalling an anecdote from his grade-school days. “I went to my piano teacher and said that at the school Christmas concert I wanted to do a medley of carols, but I wanted to put all sorts of things inside the piano to make noises and stuff. And my piano teacher said, ‘You know that’s been done before?’ and handed me John Cage’s Silence. So I was already finding some of these weirder corners of the musical world.”
Just before the release of his Book of Heads recording, Moore also put out Gertrudes, an album of duos with violinist Andie Springer that were written by a range of composers including Larry Polansky, Paula Matthusen, Ken Thomson, Lainie Fefferman, Robert Ashley, and Moore himself. Moore and Springer began collaborating while touring with a theatrical production and developed their project during their down time, eventually reaching out to friends and colleagues and booking shows as they passed through town.
While Moore continues to fine-tune his professional focus as he gathers experience, he also keeps an ear open to what may find him when he’s not actively looking.
“It’s not necessarily that you pick it. You maybe find yourself having a tendency towards different types of music or certain genres, but sometimes these things pick you.”