Bob Moore, an Architect of the Nashville Sound, Dies at 88

NASHVILLE — Bob Moore, an architect of the Nashville Sound of the Nineteen Fifties and ’60s who performed bass on hundreds of fashionable recordings, together with Elvis Presley’s “Return to Sender” and Patsy Cline’s “Crazy,” died on Sept. 22 at a hospital right here. He was 88.

His dying was confirmed by his spouse, Kittra Bernstein Moore, who didn’t cite a trigger.

As a mainstay of the free aggregation of first-call Nashville session professionals generally known as the A-Group, Mr. Moore performed on most of the landmark nation hits of his day, amongst them Tammy Wynette’s “Stand By Your Man,” Loretta Lynn’s “Coal Miner’s Daughter” and George Jones’s “He Stopped Loving Her Today.”

All had been No. 1 nation singles, and every typified the intuitive, uncluttered type of enjoying that got here to characterize the less-is-more Nashville Sound.

Mr. Moore, who primarily performed the upright bass, additionally contributed the swaggering opening determine to Roger Miller’s “King of the Road” in addition to the indomitable bass line on Jeannie C. Riley’s skewering of hypocrisy, “Harper Valley P.T.A.” Each information had been No. 1 nation singles and main crossover hits, with Ms. Riley’s reaching the highest of the pop chart in 1968.

Over 40 years Mr. Moore elevated the bass in nation music from a subordinate timekeeper to an instrument able to appreciable tonal and emotional attain. By turns restrained and sturdy, his imaginative phrasing revealed a present for seizing the dramatic second inside a recording or association.

“No matter how good a musician you are technically, what really matters boils down to your taste in playing,” he once said. “A lot of guys can play a hundred notes a second; some can play one note, and it makes a lot better record.”

Mr. Moore’s forceful, empathetic enjoying prolonged properly past the precincts of nation music to embody the likes of Simon & Garfunkel’s “The Boxer” and Brook Benton’s “Rainy Night in Georgia,” amongst different pop and soul hits, in addition to a number of notable rockabilly information.

As session chief at Monument Inform ation, the place he labored within the late Nineteen Fifties, Mr. Moore created preparations for recordings by Roy Orbison and others, together with “Only the Lonely,”

a Prime 10 pop single for Mr. Orbison in 1960. The report stalled at No. 2 and might need gone on to occupy the highest spot on the chart had been it not for Brenda Lee’s “I’m Sorry.” Mr. Moore performed bass on that one, too.

He had a Prime 10 pop report of his personal: the Mariachi-flavored instrumental “Mexico” (1961), credited to Bob Moore and His Orchestra. (The tune was composed by Boudleaux Bryant, who, together with his spouse, Felice, additionally wrote hits for Mr. Orbison and the Everly Brothers.)

In 1960 Mr. Moore and a few of his fellow A-Teamers obtained an invite to look on the Newport Jazz Pageant in Rhode Island. After a series of violent incidents in Newport, some set off by an offended crowd of concertgoers who had been shut out of sold-out reveals, the pageant ended prematurely and Mr. Moore was unable to carry out, so he and a gaggle billed because the Nashville All-Stars, which included the vibraphonist Gary Burton, recorded an album of instrumentals referred to as “After the Riot at Newport.”

“Anyone who has heard me play bass knows my soul,” Mr. Moore stated, trying again on his profession in a 2002 interview with the web site Artwork of Slap Bass. “I am studied, solid, thorough, steadfast, bold and dependable.”

In 2007, Mr. Moore and his fellow A-Group members had been inducted into the Musicians Corridor of Fame in Nashville.

His son R. Stevie Moore can also be a musician, having performed a pioneering position within the lo-fi, or do-it-yourself, motion popularized by indie-rock artists like Pavement and Beck.

Bobby Loyce Moore was born on Nov. 30, 1932, in Nashville and raised by his maternal grandmother, Minnie Anderson Johnson, a widow.

When he was 9, Bobby arrange a shoeshine station exterior the Ryman Auditorium, then dwelling to the Grand Ole Opry. One in every of his common clients was Jack Drake, the bass participant for Ernest Tubb and his Texas Troubadours; Mr. Drake grew to become an early mentor.

Bobby appeared in native bands earlier than occurring tour at age 15 as a guitarist and stand-up bassist for the minstrels Jamup and Honey. Together with the longer term A-Group guitarists Hank Garland and Grady Martin, he hung out within the bands of the Opry stars Paul Howard and Little Jimmy Dickens earlier than working with the singers Purple Foley and Marty Robbins.

Mr. Moore’s large break got here within the early Nineteen Fifties, when the Nashville bandleader Owen Bradley supplied him regular employment together with his dance orchestra. Much more auspicious, Mr. Bradley promised Mr. Moore, then weary of touring, regular work on the recording classes he would quickly be supervising because the newly established head of the native workplace of Decca Information.

Over the following three a long time Mr. Moore would seem on hits by Decca luminaries like Kitty Wells and Conway Twitty in addition to others, like Jim Reeves and Earl Scruggs, who recorded for different labels. He appeared on nearly all of Patsy Cline’s Nineteen Sixties recordings for Decca, together with her hit “Crazy” in 1961, and far of Presley’s RCA output of the early to mid-’60s, together with “Return to Sender,” launched in 1962.

As a brand new technology of session musicians started supplanting the unique A-Group within the early ’80s, Mr. Moore pursued different tasks, together with a stint with Jerry Lee Lewis’s band. A hand harm pressured his untimely retirement from performing later that decade.

Along with his spouse and his son Stevie, Mr. Moore is survived by a daughter, Linda Faye Moore, who can also be a performing musician; two different sons, Gary and Harry; and two granddaughters.

Within the early Nineteen Fifties, when Mr. Bradley supplied him a profession as a studio musician, Mr. Moore found a life-changing musical fellowship as a member of the A-Group.

“We were like brothers,” he stated in his Artwork of Slap Bass interview. “We had great musical chemistry and communication.” He continued: “We loved creating our music together. We were able to assert our personalities and express our feelings through our music in such an effective way that the public came to recognize our individual styles.”

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