Age, Biography and Wiki
Brew Moore (Milton Aubrey Moore) was born on 26 March, 1924 in Indianola, Mississippi, U.S., is a Milton Aubrey Brew" Moore was jazz tenor saxophonist jazz tenor saxophonist. Discover Brew Moore's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 49 years old?
Popular As |
Milton Aubrey Moore |
Occupation |
Musician |
Age |
49 years old |
Zodiac Sign |
Aries |
Born |
26 March, 1924 |
Birthday |
26 March |
Birthplace |
Indianola, Mississippi, U.S. |
Date of death |
19 August, 1973 |
Died Place |
N/A |
Nationality |
India
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We recommend you to check the complete list of Famous People born on 26 March.
He is a member of famous artist with the age 49 years old group.
Brew Moore Height, Weight & Measurements
At 49 years old, Brew Moore height not available right now. We will update Brew Moore's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
Physical Status |
Height |
Not Available |
Weight |
Not Available |
Body Measurements |
Not Available |
Eye Color |
Not Available |
Hair Color |
Not Available |
Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
Family |
Parents |
Not Available |
Wife |
Not Available |
Sibling |
Not Available |
Children |
Not Available |
Brew Moore Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is Brew Moore worth at the age of 49 years old? Brew Moore’s income source is mostly from being a successful artist. He is from India. We have estimated Brew Moore's net worth, money, salary, income, and assets.
Net Worth in 2024 |
$1 Million - $5 Million |
Salary in 2024 |
Under Review |
Net Worth in 2023 |
Pending |
Salary in 2023 |
Under Review |
House |
Not Available |
Cars |
Not Available |
Source of Income |
artist |
Brew Moore Social Network
Instagram |
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Wikipedia |
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Imdb |
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Timeline
Milton Aubrey "Brew" Moore (March 26, 1924 – August 19, 1973), was an American jazz tenor saxophonist.
He was born in Indianola, Mississippi, United States.
Moore's formal musical training began at twelve, first on trombone, then clarinet before switching to tenor saxophone.
Inspired by the style of Lester Young, he gained his first professional experience playing in a Texas territorial band the summer before entering college.
Moore left the University of Mississippi in his first year to pursue a performing career, with periods in New Orleans, Memphis and New York City (twice) between 1942-47.
In New York, he first heard the new music called bebop.
Returning to New York in 1948, Moore became a fixture on the city's jazz scene, cutting his first sides as a leader ("Brew Moore and His Playboys,"Savoy Records) and working with Machito's orchestra and Claude Thornhill's Big Band, the Kai Winding sextet, Stan Getz and George Wallington among others.
In 1949, he joined three of the "four brothers" from Woody Herman's celebrated Second Herd (Getz, Zoot Sims, Al Cohn) plus Allen Eager in a session that resulted in the album The Brothers for the Prestige label.
In the early 1950s, he gigged with Bird and other beboppers of note at venues like Birdland.
Pianist Gene Dinovi described him as "a natural player. I remember him saying once that you should come to the saxophone as a child would—pick it up and blow. He had blond, straw-colored hair. Always with a farmer's cow-lick sticking up. He was a very simple, lovely person."
He left New York in 1954 for the West Coast, settling eventually in San Francisco where he found a congenial environment, fitting well into the beat generation culture personified by one of his acknowledged admirers, Jack Kerouac.
Moore himself told critic Ralph J. Gleason in 1954: "The idea of playing for me is to compose a different, not always better I'm afraid, melody on the tune and basis of the original song, rather than construct a series of chord progressions around the original chords."
An idea the more pre-bop inclined Gleason clearly approved of, noting that Moore "has two absolutely golden gifts. He swings like mad and he has soul . . . he also has a priceless gift for phrasing. . . . When Brew says it, he says it simply, but it rings true."
In 1959, the heavy drinking that had early on given him his nickname took its toll, and he withdrew from the scene.
He subsequently resurfaced in Europe.
Based out of Copenhagen, Denmark, he would, with the exception of three years in New York (1967–70), continue to perform there for the rest of his life, teaming with such fellow ex-pats as Kenny Drew and Sahib Shihab as well as European players Niels-Henning Ørsted Pedersen and Alex Riel.
As one who idolized Young (he even held his saxophone at the same unorthodox 120 degree angle), Moore was at first uncomfortable with it, but as he recalled for The New York Times critic John S. Wilson in 1968: "When I heard what Bird (Charlie Parker) had done for himself, I realized that Pres was not the complete messiah. So I combined Bird and Pres and my own thing."
In August 1973, back in Copenhagen from a trip home to settle his late father's affairs (and, ironically, after years of economic uncertainty coming into a substantial inheritance), he fell down a flight of stairs in Tivoli Gardens and suffered the injuries that caused his death.
In the liner notes for a Storyville Records issue, critic Alun Morgan suggests in liner notes for the CD reissue No More Brew that Moore's "total discography is small for a man of his musical stature" because of the saxophonist's unswerving adherence to his Lestorian roots.
As critic Scott Yanow observed: "In the early '50s, [Moore] recorded . . . with fellow tenors Stan Getz, Al Cohn, Zoot Sims, and Alan Eager; at the time, they all sounded identical. Moore was the only one of the five who did not change his sound through the years."
Alternatively, Danish scholar Soren Schou has likened Moore's "epic melodist" playing to writing a novel and contrasted it with the concentrated "short story" approach practiced by post-Bird improvisers.
Certainly Moore's expansive style of playing tested the attention span of post-bop era listeners.
(In evidence of this, one is referred to his X-rated comments to an apparently less than fully engaged Stockholm audience while introducing "Manny's Tune" on "No More Brew," Storyville CD 8275, 1998.)