April 27, 1951 – August 14, 2022
The question most frequently asked during gatherings of post-Vatican II church musicians was, “How do you get the people to sing?” The issue was further complicated when considering song selections for use during the distribution of Communion. Prior to the council, Communion was typically experienced as a time of personal, silent prayer for many Catholics. As a result, the assembly was seldom asked to sing but rather encouraged to continue in their private moments of thanksgiving. Expecting people to sing a foursquare hymn while walking in the aisles, and carrying a missal, hymnal, or worship handout seemed to be a bridge too far. When Communion in the hand and drinking from the cup were introduced, many pastoral musicians stepped back from attempting to foster communal singing and instead opted for a choir offering, solo, or instrumental selection instead. However, the 1972 Bishops’ Committee on the Liturgy (BCL) document Music in Catholic Worship was regarded at the time as a foundational guide for pastoral musicians and it clearly emphasized the importance of communal singing during Communion, while stressing that the song, “give expression to the joy of unity in the body of Christ.” This was the challenge facing pastoral musicians.
Into this landscape of evolving liturgical practice came a new kind of Communion song—one that met the moment with both musical integrity and pastoral sensitivity. A simple refrain with an easy to remember text and melody for the assembly, coupled with verses for cantor or choir could produce the desired result. And while many such offerings appeared, some more successful than others, “Taste and See” by Dr. James (Jim) E. Moore was among the very best. It is not surprising, since the song is widely regarded as one of the most effective and enduring Communion songs. It has a solid scriptural text, a refrain with an engaging melody, and verses well-crafted for cantor or choir. In addition, this musical setting of Psalm 34 was also used as a responsorial psalm.
Moore, a native of La Crosse, Virginia, earned a Bachelor of Music Education from Virginia State University, Master of Piano and Conducting from Virginia Commonwealth University, and a Doctor of Musical Arts in Conducting from the University of Cincinnati College-Conservatory of Music. In the late 1970s and early 1980s, Moore served as professor of liturgy and music at the Athenaeum of Ohio (Mount St. Mary's Seminary and School of Theology), the major seminary of the Archdiocese of Cincinnati, and he also directed the Athenaeum Chorale and Chamber Orchestra. In addition, he served as director of music at St. Agnes Catholic Church in the Bond Hill neighborhood of Cincinnati. Moore participated in concerts and festivals with various choirs in the Fiji Islands, Samoa, Turkey, Germany, and Italy. One trip to Vienna Austria thoroughly convinced him to make that charming city his permanent home and in 1984 he did. He directed the Chor der Alten Burse while living in Vienna and served as a private instructor in voice and conducting. His song, “An Irish Blessing” reportedly came into widespread use throughout Europe, and was mentioned by St. Augustine Catholic Church of Vienna in a tribute to Moore shortly after his death. As widely sung and successful as “Taste and See” was, it was by no means Jim’s only contribution to the church’s repertoire. He produced three published collections and recordings. The songs “I Will Be with You,” “Touch Somebody’s Life,” “A New Song,” and “Love Endures” were also well received.
A robust and joyful man with an infectious smile and a hearty laugh, Jim was a natural sitting at a piano leading choir and assembly in song. Singing with gusto in his full rich baritone voice he often added his own spontaneous descants and harmonies which transcended the notes on the printed page. As a pastoral musician, he was an inspiration. He was blessed with personal appeal, obvious faith, musical credentials, and natural talent. His melodic tunes and uncomplicated scripture-based texts all crossed the usually challenging barriers of age, race, musical background, and style preferences.
Jim shared his era with other notable Black liturgical music composers and song writers, among them: Grayson Warren Brown, Kenneth Louis, Fr. Clarence Rivers, and Leon Roberts. Each one of their contributions was unique and ignited an interest in Black worship, music, and culture during the period of liturgical music reform in which they lived. Their music not only gifted the Black church but also enhanced the wider church as well.
Moore’s final resting place under an impressive monument which has selected titles of the songs he wrote engraved on each side is located in the famous Wiener Zentralfriedhof, also known as Central Cemetery located in his beloved Vienna. This hallowed ground also holds the remains of Beethoven, Brahms, Schubert, and many members of the Strauss musical dynasty, along with a cenotaph for Mozart. More information can be found at FindAGrave. A YouTube video of his memorial service held at the Church of the Resurrection, (formerly St. Agnus) in Cincinnati can be found here.
Tribute prepared by Michael A. Cymbala, © 2025 by Michael A. Cymbala. All rights reserved. Used with permission.