What people are saying about
Cooper-Moore

"Cooper-Moore is the sort of artist that oozes music. Whether on piano, drum heads or instruments of his own devise, or even just screaming and hollering the blues, he is consistently capitvating and inventive. While his work with William Parker's In Order to Survive, Bill Cole's Untempered Ensemble and the Susie Ibarra Trio was captured for posterity, his own work, sadly, has gone largely undocumented, with only a single solo piano recording out under his own name. Hopefully that will change with the creation of a standing trio with bassist Tom Abbs and drummer Chad Taylor. The rhythm section has found a remarkable sympathy in the last couple years, backing up some of New York Citys strongest jazzmen. Triptcych Myth promises to be the working group Cooper-Moore deserves: energetic, enigmatic and dedicated to development over the chance, free-improv meetings that dominate New York's jazz scene. Here's to a long and prosperous life."
- Kurt Gottschalk, editor, The Squid's Ear

“Cooper-Moore has combined humor with pain, comedy with seriousness, agony with transcendence, one art form with another. He is a deeply resonating blues for modern time....Giving us a tortured scream but also an ironic wink he crafts an ancient blues that propels the listener forward on a tearful noise, part laughter, part cry, part catharsis.”
- Jazziz

”Cooper-Moore’s ‘Deep in the Neighborhood of History and Influence’ (Hopscotch) is the ultimate underground jazz document, this is a lo-fi, live solo-piano lecture-concert bursting with personality. Cooper-Moore puts standup-routine eulogies, rants, and preambles around a variety of moods, including hailstone abrasive improvisations, Ellingtonian chords, boogie-woogie and ballads. His irrepressibility is hard to resist.”
- The New York Times

”One of New York's most effusive but reclusive musical geniuses… Cooper-Moore is a one-man New Orleans jazz funeral flailing like the Grambling State marching band across a vaudeville stage.”
- Salon.com

”Cooper-Moore exhibits no laziness in his stage presence; he needs no context to be understood, and plays as if he is trying to grab the attention of pedestrians on a busy street.”
- The New York Times

"Abbs is a force of nature on the bass and tuba…"
- Time Out NY

"Abbs is exceptionally tasteful and supportive…"
- Chicago Reader

"Tom's keen sense of improvisation propels you through a vast landscape of songs and sound....A must see!"
- Free Times

"Whether bowing, slapping, strumming, or plucking, Abbs creates a field of energy that feeds the group."
- Cadence Magazine

"Abbs, in particular, is stunning on both his axes, adding fuel to the fire."
- All Music Guide

"Bassist Tom Abbs (who doubles on tuba) cooks up a virtual mountain of polyrhythmic bedrock."
- One Final Note

”Taylor is an equally stunning player in this artistic marriage. His percussion moves from stuttering to shadowboxing the beats, from the raw and provisional to the magisterial and the elemental. There are moments tucked into the compositions that recall the Dutch free-jazz drummer Han Bennink.”
- TheStranger.com

”Taylor is all over his drum kit, pounding out a rhythmic base that moves off the line into abstract territory. He uses alternate percussion effects that turn the rhythms into shimmering echoes. With this backdrop Taylor allows the soloist to take wing and fly consistently.”
- One Final Note