Graze The Bell

Graze the Bellis a collection of soul-stirring, mesmerising solo piano pieces, and the most distilledoffering ofDavid Moore’s artistry to date. Known for his atmospheric compositions withBing & Ruth, as well as his collaborations with guitarist Steve Gunn and Cowboy Sadness, this marks Moore’s first widely shared solo piano album. Like the cover–a photograph that Moore embroidered by hand–the music abstracts personal experiences into transcendent impressions. Using his piano to meditatively inquire into the human condition, Graze the Bellis a sanctuary of sound . Across their numerous releases, Bing & Ruth frequently changed shape and sound, swelling to a fifteen-piece group and holistically arriving at atrio configuration. Their most recent albumSpeciesforegrounded Moore’s Farfisa playing, while a subsequent EP of the same name featured his solo interpretations of the record. This long arc of distillation has always centered on Moore’s composition for, and comprehension of, the piano. After two decades of acclaimed ensemble work, Graze the Bell’s appearance is a full circle moment, a coming home—not simply to a place or time, but to a luminous center that transcends both.

Some of the material on Graze the Bell was originally planned for a Bing & Ruth album, but it was ultimately reimagined as a solo undertaking. Using only the piano, Moore sought to expand upon the reliable methods he had developed over the years. “I want to keep growing,” he says, “and challenge dogmatic ways of thinking.”Actively embracing experimentation and seeking a deeper presence in his playing, he reassessed his relationship to the piano and to life. While Moore’s music is based on composed notations and draws from life experiences, the source of his inspiration remains more ineffable. Consciously nurturing the latter, he developed a natural ability to tune into a trance-like state. Moore can sit down with that intention, “and within a few seconds,” he is “totally there.”From the first note to the last, the album is grounded in the breathtaking tone of a “beastly” 1987 HamburgSteinway Model D. This is partly to do with his subtle playing style, which at times touches upon silence. Moore’s graceful approach gives space to the sound, revealing hues of the piano that many players would habitually ignore. Such nuances were nurtured in the process of recording the album at the renowned Oktaven Audio in Mt. Vernon, New York. The tone of the studio’s Steinway was vividly captured by the production guidance of Grammy Award-winningBen Kanewith assistance fromOwen Mulholland. Reinforcing Moore’s experimental approach, they creatively misused pitch-correcting software to orchestrate the different registers of the piano’s tonal profile.

A1. Then a Valley
A2. Graze the Bell
A3. No Deeper
A4. Offering
B1. Will We Be There
B2. All This Has to Give
B3. Rush Creek
B4. Being Flowers