Moondog

Wally Kane (Performer), Alfred Brown (Performer), George Duvivier (Performer), Moondog (Louis Thomas Hardin) (Performer, Composer), Ron Carter (Performer), Donald MacCourt (Performer), George Berg (Performer), Jack Knitzer (Performer), Joyce Kelley (Performer), Ryohei Nakagawa (Performer), Charles McCracken (Performer), George Ricci (Performer), Ernie Bright (Performer), George Silfies (Performer), Jimmy Abato (Performer), Phil Bodner (Performer), Henry Schuman (Performer), Irving Horowitz (Performer), Andrew Lolya (Performer), Harold Bennett (Performer)

Product Details

• Performer: Wally Kane, Alfred Brown, George Duvivier, Moondog (Louis Thomas Hardin), Ron Carter, et al.
• Composer: Moondog (Louis Thomas Hardin)
• Audio CD (July 20, 1989)
• SPARS Code: ADD
• Number of Discs: 1
• Label: Sony
• ASIN: B0000026QJ
• Also Available in: Audio CD
• Average Customer Review: 4.9 out of 5 stars See all reviews (11 customer reviews)
• Amazon.com Sales Rank: #184,861 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

17 of 18 people found the following review helpful:

5.0 out of 5 stars The Different Drummer We Once Were, January 4, 2004

By	Samuel Chell (Kenosha,, WI United States) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

I bought this album because of a memory, but the music stands up remarkably well to a more objective listening.

It was my first trip to New York City, and my father approached the wildly-dressed, tall and intiimidating figure standing on the corner of 56th St. and 7th Ave. They conversed in Norwegian long enough for me to draw nearer and realize the stranger represented no threat. In fact, I left with a book of hs canons, which remains in my collection of piano literature to this day.

I met Moondog once again--serendipitously, on Milwaukee's Wisconsin Avenue one day in the seventies. I have no idea how he got there or how he left, but this time I wanted to protect him from the insensitive pedestrians swirling around us and threatening our shared moment.

Moondog's music is as singular as he is, and offers a glimpse into his creative spirit. It begins with an idea and a form, not with an emotion or sentiment. Each piece is simple and brief, but not simplistic or fragmentary. He avoids any form of dissonance, even seventh chords and "blue" notes (flatted thirds). Music, like life, he seems to be saying, can be a straightforward, delighting adventure, providing one cherishes the quest itself above its so-called object and maintains a focused attention on the wonders of the present moment.

My only slight disappointment with this recording is that the madrigals, sung by Moondog and his daughter, are subjected to some studio effects that make them sound more artificial and commercial than they deserve to be.

11 of 11 people found the following review helpful:

5.0 out of 5 stars 35 unmistakable tracks, February 23, 2005

By	Patrik Lemberg (Tammisaari Finland) - See all my reviews

You don't need to buy the double-disc "Moondog 1 & 2" to hear the two albums - all that music can also be heard on this (75 minute) single disc.
Even though the only cover art of this edition is the original front cover of the 1969 "Moondog" (no original back-cover thereof nor any art from the 1971 "Moondog II",) all 35 tracks are nicely crammed in here.
What's listed under "Listen to samples" on the amazon page are only the last 20 tracks of this CD and all titles are linked to the wrong tracks.

"Moondog I" (tracks 1-9) opens with "Theme" and "Stomping Ground" - two somewhat coherent pieces which a few years ago were made quite famous through the soundtrack of Coen Brothers' wonderful movie "The Big Lebowski." The album features a 50+ piece orchestra, which, among other greats, includes jazz veterans Don Butterfield (tuba) and Ron Carter (double bass.) In the list of personnel, Moondog is not credited for playing percussion, but the bass, which I assume is a misprint.
The beautiful Charlie Parker homage "Lament I: Bird's Lament" is here performed in its original form, but can also be found on the 1994 Moondog recording "Sax Pax For a Sax" on only saxes and percussion.
The orchestral performances on "Moondog I" aren't flawless, but should not be judged harshly because of the very personal, highly individual, and wonderfully eccentric form of compositions that they are. Budget, which is a very common issue when it comes to orchestral recordings, is another element that probably has not allowed much rehersing or many (if any) re-takes.

Before ordering this disc I knew that I'd love "Moondog I" since I'd heard most of it previously, but I was skeptical towards "Moondog II" because of some reviews I'd read of it. I was however curious, and listening to it when it had arrived was a very nice surprise.
Aside from performances by Louis "Moondog" Hardin (percussion, piano, vocals) and his daughter June (vocals,) "Moondog II" features 6 other musicians who, at different points throughout the album, play virginals, recorders, harpsichords, ancient organs, guitars, schom, viola de gamba, and troubadour harp. These instruments alone make a very individual sound, but the compositions (many of which are in 5/4 and 5/8) and the poetry make this the most wonderful group of rounds (short vocal canons) you've ever heard.

In my 700+ CD collection, this is among my favorites.

12 of 13 people found the following review helpful:

5.0 out of 5 stars Keep your minds and ears open..., July 18, 2000

By	ptitchitza (Leiden, Netherlands) - See all my reviews

Philip Glass or Steve Reich are reasonably known and appreciated. Moondog (Louis Harden) is sadly forgotten, even though his contribution to the contemporary, adventurous, orchestral music is just (if not more) clear. Moondog is not unique in being overshadowed for lack of "marketing skills" (or whatever we want to call it), a tool that should get across the merit of a great musician to audience saturated by ever shorter bits and pieces served by the media. For those who still do not suffer of chronically shortened attention span, Moondog will be a revelation. "Though I was born in the United States, I consider myself "a European in exile," for my heart and soul are in Europe. I am a classicist at heart, and everything is classically conceived, in form, content and interpretation... I feel like I have one foot planted in America and one in Europe, or one in the present and one in the past. Rhythmically, I am considered to be in the present, even avant garde, whereas melodically and harmonically I am very much in the past. But the present becomes the past just as the future becomes the present. As I say in one of my lyrics, "Today is yesterday's tomorrow which is now..."

I do not understand the purpose of labeling music except for business purposes, and I am more than pleased to leave it to journalists and the record companies. Moondog's two LP's featured on this single CD are beautiful, but you will be losing a dimension of it if you shape your expectations to the limits of one (or more) particular genres, be it jazz, classical, or whatever... On the other hand, I understand the references by other listeners to Frank Zappa, John Zorn or Raymond Scott, as I love and appreciate them all. In ideal world every work or art should be approached without expectations, without pre-made notions, and be judged and appreciated by its own merits. But, there's only 24 hours in a day... I hope you will find the truth in reviews for this CD and find yourself sufficiently intrigued to check Moondog's music. The effort is very much rewarded.