It's boring to you to be proven wrong?

If they did any other sessions, (which I highly doubt since they recorded for a major label that documented everything), nothing has ever been released.

What's your documentation for Moore being on the March 1957 session? I already posted my documentation to refute it.

Okay, according to Wikipedia this is still in dispute. Escott and Adam K say that Dorsey and Paul were at the March 1957 session, but two French guys agree with you.

Despite their earlier failures, Coral still seemed to have faith in the commercial future of The Rock and Roll Trio, even with their revamped line-up. On March 22, 1957 they organized what was to be the Trio’s last recording session at the Bradley Studio in Nashville, Tennessee.. On this occasion, however, the identity of the personnel involved is open to question. Adam Komorowski has stated that despite the split, Dorsey was forced to attend this session because of contractual obligations. According to the discography used by Colin Escott of Showtime Magazine, Dorsey, Johnny and Paul took part in this session. According to Nashville session double bassist Bob Moore who was present at the Nashville sessions, Dorsey and Paul were replaced by himself and Grady Martin.

French researchers Gilles Vignal and Marc Alesina, however, have produced a discography which has only Johnny Burnette present at the session. According to them, Burnette played acoustic guitar and sang vocals, whilst Thomas Grady Martin played electric guitar, Bob L. Moore played string bass and Farris Coursey was on drums. On this session, four tracks, "Touch Me", "If You Want Enough", "Butterfingers" and "Eager Beaver Baby" were cut. Taking a cue from Elvis and the Jordanaires, Owen Bradley lined up a vocal group for two tracks: "Butterfingers" and "If You Want It Enough". Following the session Johnny and the Trio toured with Gene Vincent, and in published snapshots, only Johnny Burnette, Paul Burlison and Johnny Black appear with Gene Vincent.

Final thought...dinner is waiting...

French researchers Gilles Virgnal and Marc Alesina documented the March 22nd session in Nashville along with Moores own recollection. Following that session Johnny Burnette, Paul Burleson, and Johnny Black began touring with Gene Vincent, but that ensemble dissapated shortly thereafter.

Sorry, but here's MORE documentation regarding Moores participation with Johnny Burnette and the Trio. Grady Martin states on his website that Moore played absolutely FOR SURE on Johnny Burnettes sessions on July 4, 1956 and March 22, 1957. In addition, another session was scheduled for July 5, 1956...but Moore had a prior commitment for a television gig at CBS, and even though the session would have paid twice as much, Moore fulfilled his commitment to CBS.

Okay, if true then Moore played rockabilly in March, 1957, three years after Bill Black originated the style.

Boy, Grady has a great memory that he can recall specific events from 55 years ago, events that disagree with the session notes. I guess Dorsey just stood aside and let Moore play on July 4?

Where's the link to that site?

I just read it, so you're taking the word of Kittra Moore when no one involved is still alive to confirm any of it?

Moore, Martin, and Boots Randolph were known as the A-Team of Rockabilly session players OFTEN replacing regular band members on recording sessions...much like The Wrecking Crew did for so many bands iin L.A., since they were so accomplished. My research is starting to indicate that Moore may actually have played on nearly as much or more R&R Trio stuff as Dorsey. Google Johnny Burnette and Bob Moore and there's a plethora of data confirming this. It' starting to appear as though while Dorsey and Paul were in Johnnys touring ensemble, Grady and Moore were his session musicians of choice, which is pretty much what I figured.

Even if we assume that Martin played on EVERY Trio record, that's still two years after Bill Black created that style of playing rockabilly bass. Black was the innovator, Moore was the great technician who could play anything after someone else created it.

Johnny wasn't making the decisions as to who played on the records, that was being done by the label and the producers.

And if I'm a country or rockabilly producer, and if what you are assuming is even true, then I'd definitely go for Moore over Dorsey to cut my tracks at that time.

As for Black...once again...I really like him. He DOES remind me a bit of Bootsy Collins in this respect. Both, in my opinion, were known as much for their stage antics as their instumental virtuosity.

Was Black the "innovator" though...or the guy who exposed a style due to the notoriety and attention he received as the early bass player for a worldwide phenomenon named Elvis Presley???

Speaking of Moore, I know his son.

http://en.wikipedia.org/wiki/R._Stevie_Moore

He used to manage a record store a few miles from my house. Looks like he finally moved back to Tennessee last year.

Interesting list.
I like Burton, but should Pulling Teeth really be THAT high? I mean, at least it's unique and original...but very polarizing for most people.