Stanton Moore - III (2006)

This highly recognizable—and widely recognized—groove returns on III, Moore’s third solo recording and his Telarc debut. In addition to his “infectious, jazz-meets-Bonham, nouveau second-line” sound, III features Robert Walter (Greyboy Allstars, The Head Hunters) on organ and Will Bernard (T.J. Kirk, Doctor Lonnie Smith) on guitar, along with a few special guests: Skerik and trombonist Mark Mullins (Galactic, Bonerama, Harry Connick, Jr., Better Than Ezra).

Moore recorded III at the legendary Preservation Hall in New Orleans. “I wanted to do something in the hall because of the sound in the room and the amazing vibe there,” he says. “After Katrina, they weren’t having music and were waiting to reopen, so I saw that as an awesome and rare opportunity to spend a few days in there with a remote recording setup and make a record.”

The ten-song set opens with the earnest rock-steady beat of “Poison Pushy,” augmented by Bernard’s thick guitar chord riffs and infectious solo lines and Walter’s sneaky organ groove. The followup track, “Licorice,” is a bit more heavy, with a swampy mix of guitar, organ and horns riding atop Moore’s deep groove.

The horn section steps to the forefront for some intricate melodic work on the grinding “Chilcock,” while “Weak Sauce” takes a decidedly more funky turn and showcases Bernard’s retro-flavored guitar work.

Moore sets up a New Orleans nouveau second-line groove on the sparse but compelling “Maple Plank,” a track that allows him plenty of room by employing the guitar, organ and other instrumentation only sparingly.

In the final stretch, Moore pays a solemn tribute to his beleaguered hometown with a three-song suite. It begins with beautiful rendition of South African pianist/composer Abdullah Ibrahim’s “Water from an Ancient Well,” followed by a dark and ominous rendition of Led Zeppelin’s “When the Levee Breaks,” and closes with the gentle spiritual, “I Shall Not Be Moved,” a track that suggests perseverance and resolve.

Indeed, Moore is a survivor—literally and artistically. Despite some of his own personal setbacks in the aftermath of Katrina, he continues to channel the muse and explore the remote places where jazz, funk, soul and various other musical strains merge. III is, among other things, a survivor’s tale—a recording that ignores adversity and pursues the creative ideal.