In 2006, David Moore started Bing & Ruth as a way to bring his compositions to an audience beyond academia. A pianist from Kansas, studying at the New School for Jazz and Contemporary Music in New York’s Greenwich Village, Moore was writing the sort of music he wanted to hear: minimalist ensemble music with a certain filmic sensitivity, one that prioritised grace and texture over the style’s once-radical subtraction.
Following the seasoned history of minimalist heroes at the New School for Jazz and Contemporary Music in New York’s Greenwich Village like John Cage and Steve Reich, Moore’s compositions looked past the studied repetition of the style’s most prominent forerunners towards a form built on feeling, a mobilisation of time-honoured shapes, now angled outward towards a greater totalising sublime. The piece’s mark the culmination of Moore’s piano studies, pairing tender lines that emphasise the instrument’s more percussive qualities with running woodwinds, warbling tape delays, and splattered upright bass lines that stare out with a wide-eyed transcendence.
Moore has since released three full-length LPs, the self-released City Lake (2010), as well as Tomorrow Was the Golden Age (2014) ‘one of the finest left-field releases of the year’ Pitchfork, and No Home of the Mind (2017) which were released with experimental label RVNG INTL.