As the title appears to imply, this is a two-CD set but it’s even more than that. It’s like two different records, two different genres—cool jazz and blues—and both are equally excellent. Robert Moore has gathered up an outstanding ensemble of first-rate musicians—himself included—and created a masterpiece of an album. There are nine tracks on each of the two discs and there’s not a bad cut on either of them. As lead vocalist, Moore’s sound is a composite of many other great jazz and blues singers but what his style may lack in originality, it more than makes up for in quality. He has great range and vocal control and he can scat sing with the best of them. And not only is he a dynamic singer, he is also a talented trumpeter and an artiste on the harmonica, as well as a gifted lyricist and arranger. Thirteen of the eighteen songs are either original compositions or new arrangements of old songs with his lyrics added.

Cool, the jazzy CD, has several selections that feature nice work by Kofi Burbridge on flute, Steve Christofferson on piano and Mark Kimbrell on guitar, along with some groovy scatting by Moore. There’s even the obligatory rendition of “Moody’s Mood for Love” (every jazz/blues singer has to take their crack at it). However this one has an interesting twist: Moore sings the familiar King Pleasure lyrics while Nancy King’s sensuous vocals on “I’m in the Mood for Love” are superimposed over them. The approach is a bit unorthodox but somehow it all pulls together and clicks. The record ends in grand style with a 16-minute version of Wayne Shorter’s 1976 classic, “Footprints” Moore adding lyrics to what had previously been an instrumental. Everyone gets their chance to shine with solos on this cut, especially New Orleans drummer Johnny Vidacovich whose steady, pulsating backbeat accompanies seven of the nine cuts on Cool.

On Blue, Moore finally gets a chance to show off his talent on harmonica and, on some of the tracks, his style is hauntingly reminiscent of the late blues bandleader Paul Butterfield. Several of the songs are so slow and drawn-out you can literally hear and feel every note. “Pipe Dreams,” at 12-plus minutes, is the best cut on this record, even though it’s more jazz than blues. It’s still great and it belongs somewhere in this collection.

Overall, the album is a work of art. It was produced in a little-known studio near Moore’s hometown of Birmingham, Alabama, yet it is of the highest technical caliber. It doesn’t sound like it was thrown together in someone’s garage, which is too often the case with musicians working on a low budget. Robert Moore is not famous but this album is proof that he should be. Maybe with some first-rate promotion, strategic airplay, a major label record deal and a well-publicized concert tour he will be. He deserves it. This is jazz and blues at its best.