JPM appears on Dan Baraszu’s latest CD release titled: Planet Zu (Featuring Dan Baraszu) – In The Light Of Day. Joseph plays electric and fretless bass throughout. Buy on itunes
Dan Baraszu – guitar
David Ellington – B3
Marlon Patton – drums
JPM – bass
Original Post by: Joseph Patrick Moore
Today (May 11th, 2010) my newest CD “To Africa With Love” is released on Blue Canoe Records. I’m so excited to share this recording with you and hope that you will check it out and enjoy!
As the title suggests, “To Africa With Love” is a collection of songs inspired by the magical enchantment of Africa, fused with my musical influences and American heritage. These audio vibrations are a snapshot of my life from June 2008 through the completion of this recording on February 11th, 2010. Through happiness and pain, this recording captures my daily journey of the many facets in the creative process. The composition, arrangement, performance, engineering, mix and overall production of this audio diary reflects my present musical and spiritual state.
Music has no boundaries and can not be separated by oceans, governments and principalities. Music has the power to uplift, connect, heal and create universal harmony for the human race. As God‘s vessel, each of us are on a spiritual journey to develop and embrace the gifts He has given to us. With these gifts we should be reminded to develop and share them for and with our fellow man. Each of our unique thumbprints should not be taken for granted but must be utilized for the greater good. It is my sincere hope that this CD captures and embraces this spirit, as it is the nucleus of every note and creative thought I relay to you.
This CD would not have been possible without the following artist’s who added their unique thumbprint to this recording:
Tyrone Jackson (keys)
Brian Carl (guitar)
Wayne Viar (drums/percussion)
Charlie Wood (vocals)
Seth Condrey (vocals, acoustic guitar)
Chinua Hawk (vocals)
Abbes Bouzefrane (vocals)
Ken Love (mastering)
To Listen, Hear, Watch, Buy visit
Joseph Patrick Moore
"To Africa With Love “Single” (featuring Seth Condrey) is released today. Fans of Joseph’s more fusion based jazz music may be surprised to hear this original tune, co-written with former Dove Award winner Seth Condrey (vocals). This song is very reminiscent of U2/Coldplay and is part of the CD collection “To Africa With Love” scheduled for release on May 11th, 2010 on Blue Canoe Records.
Original Post by: Joseph Patrick Moore
I’ve been busy completing my 8th CD titled – “To Africa With Love“. The mastering was completed by Ken Love at MasterMix in Nashville, TN on February 11th, 2010.
I’m so excited to share this new CD!! The release date(s) are as follows:
* “To Africa With Love“ (single – featuring Seth Condrey): to be released on April 13th, 2010
* “To Africa With Love” (full CD – 13 songs): to be released on Blue Canoe Records on May 11th, 2010
Original Post by JPM:
In August of 2008, guitarist Dan Baraszu and I went in the studio for two days to record a live jazz duet Christmas CD. Today it has been released on Blue Canoe Records. It was honor to be able to record in an intimate setting with one of my favorite guitarist’s who happens to be a dear friend.
At first I thought this would be an easy recording project, but the more I started working out the arrangement’s in pre-production, I knew it would be quite an undertaking. Recording in a duo setting (avoiding an over-produced CD) was a very eye opening experience. The stillness and nuance required in capturing a clean performance was ever more present. Every breath, string buzz, room noise, movement was amplified once we started adding compression and effects. In a sense, this was a very naked and bare recording with no other instruments to mask the inconsistencies of our performances (particularly drums). Capturing a great performance, minus all the ambient noises was probably the biggest hurdle we had to overcome.
Secondly, how many times have we heard the vast catalog of Christmas music from multiple artists over the years? Trying to re-arrange these “standard” tunes was in and of itself a challenge. The goal of course was to try and come up with something new or create a fresh unique approach to these classic songs. All in all, recording in this duo environment with Dan was a blast. I hope each of you will enjoy the CD as much as Dan and I had in performing/recording it.
If you would like to listen, stream, download a free song or buy the full CD, click here
Q. What inspired you to first pick up the guitar/double bass and what were your first attempts at playing these instruments?
A. Dan: My dad, although he didn’t play an instrument, was a big music fan with great taste and a huge collection from just about every genre of music. He always had his stereo going in the house, so I learned to love music at an early age. I played the tennis racket for a while until moving up to the real thing. The first guitar I had was a cheap little rental that came in a cardboard box. Having horrible action, it was really hard to play. So my first attempts were discouraging. But I kept playing it until my parents bought me an electric for my tenth birthday. My grandfather and his brother both played and they insisted I have a Gibson and I got a Gibson Sonex guitar. I loved that guitar and played it incessantly. My brother and I formed our first band that same week. He was the drummer, playing on pots and pans to begin with.
A. JPM: I was inspired from a recurring dream about playing bass. I know that it may sound trite, but it’s true. I started on the electric bass guitar and had been playing for about a year before picking up the double bass. While the electric and double bass are two different animals, starting on the electric gave me a head start in learning my notes and getting comfortable playing on all strings.
Q. Dan did you take lessons or are you self-taught?
A. Dan: After getting an electric guitar I started taking weekly lessons at a local music store. I pretty much kept taking 1-2 lessons a week from a number of different classical, jazz or rock teachers in the metro Detroit area until going to college, where of course I also took private lessons.
Q. Joseph, who inspired you to learn the Double Bass?
A. JPM: My first teacher was Rusty Holloway (Knoxville, TN). Rusty started me with proper technique/hand positioning/arco development etc. etc. At first, I would say Rusty inspired me to learn. As I started listening to bass masters on various recordings, I fell in love with Paul Chambers, Jimmy Blanton, Ray Brown, Ron Carter.
Q. How did you guys decide to record a Christmas record and what can we expect from “Christmas Time Is Here”?
A. Dan: Is it not a requirement to make a Christmas recording at some point? I think our recording, Christmas Time Is Here, is a unique contribution for Christmas music loving audiences everywhere.
A. JPM: Dan and I had been doing several private gigs over the last few years around the Christmas season and many of the clients were requesting Holiday tunes. At some point, Dan and I discussed how we should record and document what we were doing, hence this CD recording “Christmas Time Is Here”.
Q. This is a duo recording, why or how did you decide to have this as the CD concept?
A. Dan: We have been talking about doing a duo cd for about a year. Initially we were thinking about doing original tunes but that kind of morphed into a Christmas recording. I love playing duo with a bass player and there have been some great recordings done in the past. “Chops”, from Joe Pass and Neils Henning Orstead Pederson is really great as well as “Alone Together”, with Jim Hall and Ron Carter. JPM and i have played a lot of gigs together in this format and it is always a blast.
A. JPM: It was born out of gigs that we were playing around the Christmas season. Most of the jobs were in fact duo performances. This naturally opened the door for the idea of this recording.
Q. Lets talk about your creative process. How do you approach arranging standard songs like public domain Christmas music?
A. Dan: Like any song I would arrange, I’d start with the melody. This is the most recognizable part of the song and I would leave this in tact as much as possible (with slight rhythmic variation). Then I would start reharmonizing the melody from scratch to see what I could come up with, and maybe alter the feel and tempo.
A. JPM: My main goal for the songs that I was arranging, was to try to achieve a different feel/style approach on each song. This was a great challenge as much of the Christmas catalog has been recorded and documented countless times over the last hundred years. I explored re-harmonization and tried to add a slightly unexpected feel to the song. By the nature of us playing in a duo setting, I knew it was automatically going to be different as we didn’t have a lot of production and other players to rely on. The duo setting set some arrangements in motion and the music mostly dictated what was required from us. Playing in a duo setting and this recording is one of the most challenging recording projects I’ve ever undertaken.
Q. There is a large catalog of Christmas music available. How did you decide on the final list of tunes that were recorded for this project?
A. Dan: Joseph and I each picked around 10 tunes that we wanted to play for this project. The tunes that I brought were more or less simple arrangements that I play on certain gigs during the holidays. Josephs arrangements were much more elaborate and creative in my opinion. My favorite one that he arranged is “We Three Kings”.
A. JPM: I have several Christmas songbooks. I spent about three weeks playing every Christmas song known to man. I made a list of all the songs that really appealed to me or those songs that I felt could lend well in a duo setting. Once I had my master list of tunes, I narrowed it down and picked about half of the tunes on the recording and started re-arranging them.
Q. Dan, what is the most important bit of advice you could give to new guitarist players?
A Dan: Listen to as many different kinds of music artists you can. Go out and hear it live as this is an aural art form and it is learned by ear. Find what you like and learn it note for note. Listen to it, play it, understand it, assimilate it and love it. I also suggest taking lessons. A good teacher can add structure to your practice routine and they can help you overcome your weaknesses as well as a great source of inspiration. Find every resource you can about music and guitar. Study it and learn how to be your own teacher.
Q. Joseph, what is the most important bit of advice you could give to new double bass players?
A JPM: Find a teacher and study privately. Develop good habits from the beginning. Listen and learn to read music.
Q. Thanks for your time and consideration for this article and interview. Any last thoughts for our readers?
A. Dan: Rock on!
A. JPM: 1/20/09-Ho, Ho, Ho!
JPM produces compilation for Blue Canoe Records. This compilation titled, “Look What The Cats Drug In – Volume 1″ is an audio recording featuring The Modern Jazz Stylings Of Blue Canoe Recording artists. This CD will be released on September 16th, 2008.
Blue Canoe Records to release JPM “Decade 1996-2005″ CD on May 30th, 2006. Featuring remixes and remastered tunes, selected by JPM. JPM also performed all the instruments on the title track “Decade“.
Check out “Decade 1996-2005″
Stream - Buy - Download
JPM’s song “GrooveMessenger” from the “Drum and Bass Society Volume 1” CD is pre-loaded on the new iRiver T-30 MP3 Player. You may also download this song for free from Amazon.com
Reviewer: Lynda Dale MacLean
Reviewer’s Rating: 8
Joseph Patrick Moore is an accomplished bassist and composer and “Live in 05” recorded at “This House Rocks” in Atlanta, GA is a sensational Jazz album. I love the bass and percussion and felt the album, as a whole, had such a distinctive voice.
“SoulCloud” and “Mystery” have such a cool vibe going on. “Prayer of Solitude” darn this track was way too short; it was so awesome! “Datz It” (version 2005) ended the CD in style. “Live in 05” by Joseph Patrick Moore is a fine Jazz album that I really connected with.
Blue Canoe Records releases a live recording of JPM and friends:
“Live in 05″ was recorded at “This House Rocks” in Atlanta, GA on April 2nd, 2005.
Al Smith – Keys
Jon Chalden – Drums
Al McSpadden – EWI and Bass EWI
Emrah Kotan – Percussion
Joseph Patrick Moore’s jazz trio has just released their second CD titled, “Wherever We Go”:
Vol. 5 No.3, Summer 2004
Review by Fred Adams
Joseph Patrick Moore’s Drum & Bass Society, Volume 1 has got to be one of the most intriguing new releases of the year. From the moment the disc begins, with a new spin on Men at Work‘s ‘Down Under,’ it is rapidly apparent that this Tennessee native’s musical odyssey is unlike anything else coming from the South, or anywhere else for that matter.
As much a composer as a bassist, the majority of the songs on this, Moore’s fourth solo release, are (very) original. From beginning to end, the songs are all well written, uniquely arranged, and performed with a confidence and purity of a performer doing something he obviously loves. While all of the material is strong, songs such as ‘Creatures of Conscience’ (featuring guest appearances by ARU alumni Count M’ Butu and Jeff Sipe), ‘Datz It’ (featuring Moore’s former Fiji Mariner band mate Dr. Dan Matrazzo on keyboards, along with Johnny Mosier on guitar), and the ‘Cheese Frog Funk‘ trilogy leave little doubt that this is an artist whose vast talents span many musical genres, from new age to jazz to reggae.
‘Jamband Express,’ also featuring Jeff Sipe on drums, is another masterfully played, and deceptively titled, track. While the songs name may lead one to expect sounds similar to the bass Moore became known for as he joined Col. Bruce Hampton‘s Fiji Mariners, not even a trace of his jam scene influences can be heard here. The track actually sounds more suited to be heard as the theme of a TV show, or movie soundtrack, than something one would hear on today’s jam scene.
While his own compositions are strong, Moore also seems to take great joy, and possess tremendous talents, in rearranging the material of others. Besides the aforementioned ‘Down Under,’ Moore also gives new life to another 80s pop hit, The Fixx’s ‘One Thing Leads to Another‘ (sung by George and Caroline Pond of Snake Oil Medicine Show), as well as Phish’s ‘Heavy Things‘.
Regardless of the genre he pursues, Moore plays with the class, style and skills of a man whose life is devoted to his craft. While his compositions may never lend themselves to mass commercial appeal or radio play, Drum & Bass Society proves Moore belongs in the elite echelon of today’s newest, and brightest, stars of the new age jazz world.
CleverJoe.com may 2004
CleverJoe’s indie band top picks
Drum & Bass Society – Joseph Patrick Moore
Although CleverJoe generally tries to select artists from the abundant good music within the thriving Canadian indie music scene, once in awhile a CD comes across his desk that really kicks his ass (which is somewhat strange because CleverJoe, one dimensional as he is, has no ass, nor for that matter a desk).
A few weeks ago, Joe was rolling along the 401, whistling a tune vaguely inspired by a song Bob Dylan once borrowed. The CD arrived a couple weeks earlier and busy as he is, Clever had not read the accompanying press release. So with no preconceptions, he reached over and popped in Joseph Patrick’s Moore’ Drum & Bass Society CD, pressed play and rolled the window down a crack.
There’s no looking back baby.
Mmmm… sweet, jazzy and intelligent, this is a great CD that goes on evolving each time it’s listened to. A mostly instrumental CD, featuring a healthy dose of uniquely arranged cover tunes backed by a solid live band with funkadelic bass, percussion, horns, woodwinds and strings.
With a peppering of electronica and soundscapes, Drum & Bass Society wanders through some unique covers of tunes by Phish, Tony Williams, Men at Work, The Specials and the Fixx. A few songs do feature a vocalist, most notably Temple Passmore on the opening track ‘Down Under‘.
Arranged by Joseph Patrick Moore, a 34 year old bassist from Knoxville, TN, Moore’s influences include Herbie Hancock, John Coltrane, The Police and Charlie Parker. Traces of all can be heard throughout the extended jams and instrument solos on the hour long CD.
The music definitely grows on you in a laid back sort of way . CleverJoe recommends you do yourself a favour and high tail it to JPM’s web site and have a taste of some Drum & Bass Society yourself. Your day will be better for it.
CleverJoe Tip: This is road trip music at it’s best.
by Matt Shepherd
The Daily Cougar
Joseph Patrick Moore’s Drum & Bass Society’s Volume 1 is every bassist’s dream — Inviting all your eclectic musician friends over to cook up some funky, ethnic musical cuisine. JPMDBS uses more ingredients than putt-thai korat in its latest release on Blue Canoe Records. Talented and diverse musicians that are free to explore various themes in a loosely structured environment almost always yield interesting results.
From a marketing perspective, the downside to approaching a record this way is that the further one is removed from its actual performance, the less interesting the music becomes — a phenomenon that’s only amplified if the listener isn’t a musician. The onion-like layering of JPMDBS creates subtle nuances often detectable only to the musicians actually involved in the project, so don’t expect this album to break into the Top 40.
Interesting choices of material abound in Volume 1, beginning with the opening track, a cover of Men at Work’s “Down Under.” The rendition features the flute of David Freeman, the equally airy vocals of Temple Passmore and the calypso rhythms of drummer Ben Taylor and percussionists Count M’Butu and Larry Blewitt. The groove is light and breezy, but the chorus drops with the reggae earthiness of Tim Ussery’smandolin chucking.
Original composition “Groove Messenger” is a salsa-flavored nod to Miles Davis‘s Kind of Blue sessions. The samba beats provide a solid foundation for Freeman, and Vance Thompson’s modal horn jaunts into jazz age Harlem. Interesting programming and keyboard loops add a sophisticated electronic element that keeps it fresh.
The highlight of this record is the middle-eastern jam, “Cheesefrog Funk.” The frantic intro builds tension with a saxophone and a mandolin’s short bursts overlaid on the inevitable plodding of Moore himself on bass. Ziya Devletsah’s violin screams as if the electrified aeolian grains of a dust storm are bowing the strings. The violin and horns engage in a moaning dialogue over the top of an arid pocket set down by Emrah Kotan’s repetitive trash cymbals and syncopated beats along with Moore’s slap bass.
Moore showcases his bass skills on “Herbie,” a tribute to jazz/funk pioneer Herbie Hancock. He stays true to Trey Anastasio‘s playful bounce on Phish’s “Heavy Things,” which is the record’s best example of the drum ‘n’ bass with its half-time bass lines and fast jungle beats.
The talent of the musicians and their unique vision is refreshing, and the resulting music is multi-layered and wildly diverse. Volume 1 imports global elements into the realm of jazz and synthetically tweaks the mixture with electronic programming. This may please those who command a more sophisticated palette and bore those who prefer lolli-pop music.
The Verdict: Put on your headphones and pick it apart like an artichoke.
Joseph Patrick Moore’s Drum and Bass Society
“Volume 1″ (Blue Canoe)
Compare to: Stanley Clarke, Fredalba
Review by — Dan Hopper
Joseph Patrick Moore has once again proven his versatility as a bass player, arranger and composer. Unfortunately, his music is all over the board stylistically, which may lower its appeal.
“Volume 1" is layered with diverse songs, all of which contain complex musical patterns. Moore and his backing musicians groove as hard as George Clinton and Parliament Funkadelic at times, and Moore’s skills on bass are definitely comparable to Funkadelic’s Bootsy Collins.
The songs have a light-hearted enough tone to fit with any jazz listener’s taste, but the superb backbeats give most of the songs a Latin and funk feel.
There is even a hint of some Caribbean and Arabian influences found throughout. “Down Under”, the leadoff track, could not have received a better title. The music sounds like it could fit perfectly with a TV advertisement for a South Pacific Island‘s vacation getaway. The music features shakers, congas, Udu drums, a mandolin, a flute and even a pizza box scraped, tapped and swirled with jazz brushes. The choice of instruments is innovative, though slightly unconventional.
“Ghost Town” starts out with a few bone-chilling screams. The lyrics mention a ghost town, but the music brings images of deserts and sandstorms with a little enchantment placed upon them.
“Creatures of Conscience,” a Tony Williams composition, has the strongest groove and features an extremely syncopated jazz-funk drum pattern. Jeff Sipe‘s tom fills, high-hat work and borderline-genius drum solo in this song are admirable, considering his name is one not generally mentioned outside of jazz and funk musician circles. “Creatures Of Conscience” is a good song, but it doesn’t seem to fit with the rest of Moore’s album. He is a bassist and the track obviously features the drums. The bass is barely noticeable.
This is without question a “musician’s album,” meaning the people who would buy it would most likely be musicians who are deeply versed in complicated musical styles or those with a deep love for groove-oriented music or appreciation in general.
Joseph Patrick Moore — Drum & Bass Society Vol. 1
Starting things off with “Down Under” by Men at Work, Joseph Patrick Moore also retools work by The Fixx, The Specials (“Ghost Town”), Phish (“Heavy Things”), and Tony Williams (“Creatures of Conscience”), while offering seven originals. I really dig his funky cover of The Fixx’s “One Thing Leads to Another”, which makes you remember how much great music the ‘80’s and early ‘90s had to offer. His style is jazzy progressive rock with a nod to world and funk. His bass playing is masterful and bouncy with lively tones.
Reviewed by: J-Sin
Check out Joseph’s jazz trio project, the E.M.P. Project:
JPM is currently in the studio completing his fourth CD, titled: “JPM’s Drum & Bass Society – Volume 1″. With the help of some of his friends, he has assembled an all star cast.
Bass: JPM, Adam Nitti
Drums: Electronic Drums & Percussion: Jeff Sipe, Count M’butu, Larry Blewitt, Ben Taylor, Emrah Kotan, Vic Stafford
Keys: Dr. Dan Matrazzo, Frank “buzz” Amato
Mandolin: Tim Ussery
Guitar: Johnny Mosier, Howard Parks, Brent Cundall
Pedal Steel Guitar: Mark Van Allen
Woodwinds & Horns: El Buho, Vance Thompson, David Freeman, Kenneth Lovell
Vocals: Snake Oil Medicine Show, Temple Passmore, Matthew Messer, Kirsten Shippert, Brent Cundall, Ryan Taylor, Ira Hochberg, Heather Purdin
Produced: Larry Blewitt and JPM
Mixed: Vic Stafford, JPM, Jay Ackerman
Mastered: Emily Lazar
Relix – October 2002
Vol. 29. Number 5
Review by Art Howard
Prior to the era of grunge it was popular for musicians to possess musicianship. The jamband scene has come to the rescue for those of us who still prefer players who know how to play, and one of the better bass players in the jamband world is former BlueGround UnderGrass bassist Joseph Patrick Moore. His new solo LP, ALONE TOGETHER, consists of only one instrument, the bass (electric and stand-up), multi-tracked and played in a variety of octaves to create a bass symphony. On the stylistic side, what sets Moore apart from most bass virtuosos is that he actually plays bass parts on the bass rather than guitar parts. Further distancing him from the instrumentalist flock is that ALONE TOGETHER demonstrates he is facile and versatile without turning into a circus sideshow. The tunes are low-key and understated, and he touches on an interesting variety of styles, mainly jazz, ambient and funk.
A real bass solo record featuring nothing but Moore and his multi-tracked basses. JPM employs a huge range of tones and techniques, and with chops and songwriting as varied as his, this isn’t just another CD of look at me skills.
Nashville Music Guide May 2002
7 out of 7 stars
Review by Brad Fischer
It seems I’m tripping instrumentally this month. This Root Cellar Records release of bassist Joseph Patrick Moore is a definite must for any record collection. The fifteen song CD is an eclectic mix of jazz, funk, classical and soul that is most inspirational in a musical sense. Part of the fun is figuring on which cuts is Moore playing which bass…acoustic, electric or fretless. Scheduled for release on June 18, 2002, the enhanced CD also includes a free Multimedia Musical portion which includes a special video performance of Bobby Mcferrin‘s DRIVE, and many extras.
Check it out!
Bassically.net May 2002
Review by Cliff Engel
Drawing from a deep pool of jazz, funk, classical, and soul influences, Joseph Patrick Moore has delievered his third outing as a solo act with Alone Together. Moore’s latest project is comprised of eleven original compositions and four skillfully arranged covers from artists such as Bobby McFerrin and The Police. As an electric/acoustic doubler, Moore has successfully combined the best of both bass worlds while utilizing only the sounds of electric fretted, fretless, and acoustic upright basses. This effort finds Moore in solo, duo, and trio settings with perfectly orchestrated, multi-layered bass loops using both electric and acoustic basses can work together within the structure of a single piece of music in a completely coherent fashion. I can’t recall ever hearing this form of instrumentation being documented so well and convincingly. From tapping, slapping, harmonic, and chordal techniques on his electric basses to bowed, pizzicato, and walking chops on his upright bass, Moore proves he is more than totally proficient in each area. However, don’t let all of his dazzling technical displays distract you from the music and emotional content he is able to create as a result of his chops.
Bottom Line: With his previous two solo projects, Joseph Patrick Moore set the standard and firmly established himself as one of today’s up-and-coming premier bass artists. Now, with his dominating command of both acoustic and electric instruments on Alone Together, Moore has raised the bar yet again and demonstrated that he is one of the brightest electric/acoustic doublers on the scene today.
Homegrown Music May 2002
Dancing Tree Newsletter May 21, 2002
Review by Bryan Rodgers
Joseph Patrick Moore – Alone Together CD - Outstanding solo work from this master of the low end! This is truly a solo bass CD, with Moore using only bass to create his visions. Loops, solos, and complex compositions dot this enhanced CD, which features a video of Moore performing DRIVE, and much more. Moore is best know for hist stints with BlueGround UnderGrass and Fiji Mariners.
Your jaw will be on the floor….this guy simply tears it up!