Shades of Errol Garner, Ahmad Jamal, Dave Brubeck and even Oscar Peterson color Moore's pianistics. Given that music was his first love, this comes as no surprise. He worked with John Dankworth long before yuks started to put the bread on the table and in the bank, and he's written a number of movie scores over the years. Wonderfully backed here by bassist Pete McGurk and drummer Chris Karan, Moore brilliantly demonstrates his largely unheralded musical intellect. This wonderful collection of standards (Porter, Kern, Mandel, etc.) is one of the most surprisingly tasty jazz piano reissues of the past few years.
Opening with a sprightly take on Cole Porter's relatively obscure "I Love You Samantha," Moore and company dive into a collection that starts impressive and progresses to wonderful. On Jerome Kern's "Yesterdays," the rhythm section is tight and Moore's percussive attack works to good effect. The original "Field Day For Shirley" and "Blues for Boots" are both reminiscent of Jamal, particularly the latter on which his left hand keeps metronomic pulse while the right paints powerful and filigree lines. "Straight Life" is taken at a bluesy tempo, while "Exactly Like You," ridden at mid-tempo, offers further insight into the talent of the players. "If You Were The Only Girl In The World" reminds a bit of Brubeck in phrasing, and "You'd Be So Nice To Come Home To" has a pensive intro that speaks of late nights and weary hearts before breaking into a brilliantly executed sweep of the keyboard. Ending with a samba on "Fly Me To The Moon," Dudley Moore and crew cap a delightful 42 minutes of first-rate piano trio jazz that stands with some of the best of the era.