[Dixielandjazz] Joe Mooney

[Steve barbone]

Ken Gates asked about Joe Mooney. Below is Mooney's bio. Note the reference
to Mooney and Bucky Pizzarelli in NYC in 1950. I believe I saw/heard them
together back then, being a fan of Bucky's, but do not remember much about
it.

The quartet Genther Schuller refers to must be that described in the second
paragraph below.

Cjheers,
Steve Barbone


Joe Mooney. (1911-1975.)

Joe Mooney first gained national notice in the early thirties as one of The
Sunshine Boys along with his brother Dan. Despite being blind, Joe developed
into a sought after band and vocal group arranger. In particular he worked
for Paul Whiteman, and also the Modernaires before they became part of
theGlenn Miller entourage.

Partly due due to Whiteman¹s encouragement Mooney had several groups
featuring his uniquely intimate vocal styling but it was not until the post
war era that he formed his classic quartet comprising guitarist Jack Hotop,
John Frega on bass, Andy Fitzgerald on clarinet and himself on accordian and
vocal. At first glance not a hot band but with Mooney¹s arrangements and
attention to detail the group could perform the most adventurous chamber
jazz.

The band opened in New York to universal praise and rave revues. A Decca
contract was gained and fame and fortune seemed to beckon. Unfortunately
outside of the big city it was almost impossible to find the sympathetic
venues which were so necessary for their special sound and by 1948 it was
all over.

Joe did make a brief comeback in New York in 1950,this time on Hammond Organ
and with a young guitarist called Bucky Pizzarelli,but again it didn't take.
As a footnote Bucky¹s son John now includes some of Mooney¹s material in his
current repertoire. In the mid fifties Joe made albums for Columbia and
Atlantic which are now much sought after . He retired to Florida where he
worked around the clubs. He died in 1975.

At the height of his fame Joe Mooney was admired by both Frank Sinatra and
Tony Bennett who frequently were in the audience appreciating his special
talent. The two CD 63 and 65 cover the period of his greatest fame and
include rare rehearsal and transcription performances.