Joseph Patrick Moore’s jazz trio has just released their second CD titled, “Wherever We Go”:
JPM will be teaching at the Night and Day Summer Jazz Workshop located in Kennesaw, Georgia. Workshop dates are June 20th – June 24th 2005. Private Instruction, Theory, Improvisation, Master Class and Group Rehearsals will be part of the daily curriculum. All groups will perform at the Five Seasons Brewery on June 26th, 2005. The Top ensemble will open up for David Sanborn on July 22nd, 2005 at the Mable House Amphitheater.
BassGuitar Magazine (UK) November 2004
Review by Andy Long for ThirdBass. Commisioned by Bass Guitar Magazine.
Bass Guitar Magazine Issue 14
A surprisingly mellow version of Men At Work’s ‘Down Under‘ opens this latest project from Atlanta based session man Moore. It’s an colourful album that takes a tour around some of his influences, for instance the opening track is followed by a jazz arrangement of ‘Ghost Town’ by The Specials and the songs of Tony Williams, Phish and The Fixx are also to be found. His own compositions are a cocktail of funk, jazz and soul shaken and stirred by a multitude of musicians. ‘Jamband Express‘ has a solid blues/funk feel with an irresistible groove and his tribute to Herbie Hancock, ‘Herbie‘ is a showcase for some outstanding soloing, Adam Nitti pops up on this track as an added bonus. Moore was recently named as one of the 100 greatest jazz bassist by Digital Dream Door and this album is the lastest testament to that achievement.
JPM appears in the December issue of Basics Magazine (issue #37/Nathan East). The song “Herbie” from JPM’s Drum and Bass Society Volume 1 CD is featured on the CD sampler that is included with every issue, as well as commentary and a transcription from Joseph about the recording of this tune. “Herbie” also features a guest appearance by bass wizard Adam Nitti.
What inspired you to first pick up a bass and what were your first attempts at playing it like?
I was inspired from playing drums in the school marching band, particularly the bass drum. My first attempts were bloody blister ones...
Who were your early influences and what did you learn from them?
Sting (the Police). I also found a teacher in the area and he directed me to many of the greats like Paul Chambers, James Jamerson, Ray Brown, Stanley Clarke and Jaco.
Did you take lessons or are you self-taught?
I took lessons from Rusty Holloway for 5 years and he still teaches at the University of Tennessee in Knoxville.
What's the most important bit of advice you were given by another musician?
Be well rounded and competent on both Upright and Electric bass. Create your own reality.
What's the most important bit of advice you could give to new bassists?
Study and work as hard as you can. Be focused and have a plan. Create your own reality.
Where do you stand on the old fingers vs. plectrums debate and why?
Fingers! That's where you get your sound! If you play with a pick you are limiting yourself and you aren't building those calluses.
Do you play 4, 5 or 6 string basses mainly? Fretted or unfretted?
I play Double bass, Electric 5 string and a fretless bass.
How would you define your style of playing?
Tell us a little about the artists and bands you have worked with, and how/if you adapted to playing with each of them?
I have been blessed to work with a host of artists from Col Bruce Hampton, BlueGround UnderGrass, James Williams, Leo Nocentilli (the meters) to jamming with many artists such as Phish, Oteil Burbridge, Derek Trucks, Jimmy Herring and many others.
Of the artists and bands you've played with who was the most inspirational and why?
Jimmy Herring. He was a true genuine cat who really gives of himself. He pushes you man.
Do you warm up before a concert and if so how?
Oh yes...Usually scales (chromatic scale from the lowest to highest note).
Do you have any other last minute rituals or habits before a concert?
What do you drink onstage?
Have you ever played while drunk or under the influence of drugs?
Yes. I don't endorse this and don't recommend this attribute. You are cheating yourself, the other musicians on the bandstand and your fans.
What's the biggest disaster you've ever had onstage, and how did you cope with it?
My strap broke and my bass feel to the ground. I laid on my back and finished the tune out. After the song, I had an extra strap and was back on board.
What's the biggest disaster you've ever had in the studio, and how did you cope with it?
One studio session I did was in the middle of August in Memphis, TN. It was 110 degrees. The studio had to turn off the AC while the tape was rolling because it was picking up the noise on tape. The studio felt like 150 and I was melting man. The bass kept going out of tune and I almost passed out on several occasions. It was unbearable and one of the worst sessions I have ever been involved in. Fortunately for me, it was so hot, that the studio equipment started malfunctioning due to the heat and the session was called off.
What's been your proudest playing moment?
Every time I play and share my music. As long as I have my health and feel like I have something to say, I will continue to strive to cherish every moment.
What's been the most fun playing moment, and why?
Man that's tough. It's all subjective and really a mental state. If I am playing with good cats and everyone is listening than that becomes key to having a good time.
What's been the least fun playing moment, and why?
Playing at the opening of a casino and watching green midgets parachuting from the sky...
What equipment do you use live and in the studio and why?
I use a walter woods preamp, a bergantino cabinet, monster cables, pedulla bass, Kohler upright, DR strings and lots of effects pedals.
Are you fairly flexible about the equipment you use or must you always play >with the same gear?
I like to play with the same gear. It has taken my a long time of trial and error to discover what my equipment actually is. I love what I am using now and have no plans of changing my setup.
What one piece of equipment would you advise all bass players to own?
Do you read music?
Yes. I also teach a course for bassists every 6 weeks on "How to Read Music" at: MusicDojo.com
Do you play any other instruments, and how well?
Piano, drums and guitar. I am really not very good at any of them, however I understand their function and their importance. I use my knowledge of them to enhance my writing ability as well as playing and locking in with various artists in the studio and on the stage.
Do you write or co-write songs and if so do you write on the bass?
I do write from the bass as well as the piano.
Do you ever play cover versions, and if so how do you learn the originals note for note or do you improvise you own parts?
I do some arrangements on cover tunes. I feel it is important when doing cover tunes to express who you are through them. It is important to put your stamp on them. Make them unique and different from the original.
Do you sing? Do you feel it is important?
I sing, but I'm not very good. I do feel it is important and I usually sing along with everything I am playing.
If you could nominate one song that you've recorded to sum up your playing style and feel which one would it be?
As a composition and groove song...I would say "Groovemessenger" from my drum and bass society CD. There are many songs that almost make it, but I am so critical I usually find something wrong with everyone of them, even if it's 2 seconds of the song. I'm constantly striving for it.
What have you been doing recently?
I just finished writing a collaborative book called "Indie Artist Producer Handbook". I have been working on a DVD and I have several projects slated for the first of the year.
Do you have a personal or band website? Or would you like to recommend any other useful websites?
“The interview with American bass guitarist and composer of JPM.” – Sertac Ekiz
TURKISH TO ENGLISH TRANSLATION
So far, I found a lot of artists the opportunity to work with, among them, Col.. Bruce Hampton & the Fiji Mariners, BlueGround UnderGrass, Leo Nocentelli (The Meters). Oteil Burbridge, Rob Wasserman, Jimmy Herring (The Dead), Derek Trucks, Shawn Lane, Jeff Sipe, Jon Fishman (Phish), Mike Gordon (Phish), John Popper (Blues Travelers) Gil Scott Heron, James Williams. Recent work with the CD, “Drum and Bass Society,” Two Turkish artists the opportunity to work with Patrick Moore.
American bass guitarist and composer Turkish translation of the interview we did with JPM.
Sertac Patrick’s first start with the following question; gitar’a musical career and how to push and when did you start?
Patrick: Primary school age playing the alto saxophone music and drumming with my life began oldu.Lise various studies at the level of this instrument (the school orchestra, band, etc.) continued. Bass High School sophomore was turned back and looked again and I passed gitar’a. Gitar’a stole more adapted to other instruments olmu ştum.Zaman Bass Sax and Drum increasingly turned to leave only the bass guitar and Kontrbas’a.
Sertac: Who are the influences on the time and who influenced you?
Patrick: First, Sting, James Jamerson, Jaco Pastorius, Stanley Clarke, Paul Chambers, Ray Brown, Marcus Miller on bass. Later, Miles Davis, John Coltrane, Jimi Hendrix and Herbie Hancock.
Sertac: Buy the first bass you got?
Patrick: I do not know much, but since the level of a Ibanezdi.Modelini gitardı a bass.
Sertac: albums really are very nice, fun things like this for a long time, especially Alone Together.
Patrick: Alone Together features double bass, electric bass and fretless bass was a study that opens
Sertac: Let’s talk about solo work? Whom you work? Challenges where you live?
Patrick: The first album in 1996, the “Never Never Land.” Then, “Soul Cloud” album was released in 2000. “Alone Together” is just the bass guitar … an experimental work using the 2004 Drum and Bass Society, which is more complicated to work with a structure. So far, I found a lot of artists the opportunity to work with and among them, Col.. Bruce Hampton & the Fiji Mariners, BlueGround UnderGrass, Leo Nocentelli (The Meters). Oteil Burbridge, Rob Wasserman, Jimmy Herring (The Dead), Derek Trucks, Shawn Lane, Jeff Sipe, Jon Fishman (Phish), Mike Gordon (Phish), John Popper (Blues Travelers) Gil Scott Heron, James Williams. Recent work with the CD, “Drum and Bass Society,” the opportunity to work with both the Turkish artist, and album buldum.Emrah Kotan and Zia Devletsah.Bu great men had the opportunity to write a few things.
Aside from the difficulty of doing a solo album; job is the job of a good record çıkartıyor.Anahtar words, the same vision of the producer
Sertac: The same question that I generally liked the last album, Drum and Bass Society Vol 1 if I ask for? drummer and a violinist, not Turkish friends? really interesting and beautiful, making music with them to decide how to meet?
Patrick: Zia devletsah Music by Sadler’s market outside of Atlanta, I met with. Zia is a master violin maker, except that a master performer of the violin. Drummond me along for months without any registry çalıştık.Ziya tanıştırdı.Cd with Ellis and Ellis Kotan me Turkish music, culture and heritage, shared a lot of things about the very near future in Turkey .. I really would love to play and this gerçekleitirmeyi.
Sertac: We have the greatest pleasure that Patrick.Albümle Do you think about the sequence of a tour or concert?
Patrick: America has a few dates, some names .. I worked abroad in the Junior. Those who want my site can find detailed information about the Web.
Sertac: By the way, the album Green Pedulla’nı share many sevdim.Bunu istedim.Sahne at and what equipment you use Studio?
Patrick: Thank you very Pedulla’yı Sertac.Bende really love you. (Pedulla endorsment contract with JPM) made it special for me .. I use the tool with other tools; Walter Woods, preamp, Bergantino Cabs Bass, DR stings, Pedulla Bass, Upright and KohlerA multi-effects unit.
Sertac: And the recommendations are at the end .. What happens in Turkey, bass gitar’a new friends in starting?
Patrick: find a teacher, belirlesinler objectives. Important to understand where to go because the subject … Always keep their minds open, different styles, techniques, musicians, no matter tanısınlar.Odaklansınlar and dreams in their heart.
Sertac Patrick, great pleasure to know you .. thank you for sharing with us your thoughts and your time .. get”good”new bleeding heart “:)
Patrick: Thanks, Sertac! I really related to the bass in and outside of your country that you do get the work much appreciated ediyorum.Herşey after one’s heart. Peace and love.
AllAboutJazz.com – August 2004
Review by: Mark Sabbatini
When an album opens with a quirky reinterpretation of the 1980s hit “Down Under” it’s safe to assume the artist is looking to have a good time. Joseph Patrick Moore succeeds to a degree in bringing listeners along on Drum And Bass Society, Vol. 1, even if the cast of players doesn’t quite let its collective hair down enough to make this a consistent fun fest throughout. It’s an all-over-the-map jam band romp where nobody’s the life of the party, but almost everyone has something interesting to say if you focus on them amidst the din.
The fifteen tracks include seven originals by the bass player, plus reinterpretations of hits by groups such as Phish, The Specials, and The Fixx. It’s a radical departure from Moore’s 2002 multi-tracked solo album Alone Together, with the new release featuring more than twenty musicians and only a couple of songs where Moore solos—his arranging of this huge cast is the main contribution.
The most unfortunate moment is Moore’s slow reggae treatment of “Down Under,” which might have been a readily identifiable crowd-pleaser, but instead comes across as unimaginative and badly at odds with the album’s overall beat. The vocals are played straight and the instrumentalists avoid anything notable for a radio-safe four minutes. The concept works much better on “One Thing Leads To Another” as one of the wind players takes over immediately on flute and doesn’t let go throughout a peppery string of phrases. It’s hardly the inspired madness of the Bad Plus, but is a plus rather than a minus to the album.
Speaking of inspired madness, some of the better moments of it occur on the hybrid world/funk/whatever collage of “Cheesefrog Funk.” “Groove Messenger” delivers a decent bit of fusion in the style of Miles Davis, who Moore cites as one of his big influences. And the scope of variety can be seen on the rather flute-heavy New Agey “Rain Dance” and the almost mainstream jazz of “Herbie,” a tribute to pianist Herbie Hancock.
The CD, released on Moore’s Blue Canoe Records, has a $9 list price, and two songs, “Jamband Express” and “Groove Messenger (The Story of Jazztronica),” are available as free MP3 downloads from Moore’s web site and online vendors such as Amazon.com .
Moore has proven a solid player in a variety of settings since appearing on the recording scene in the mid 1990s, and this album ranks well among his releases. Fans wanting to hear him in this setting will likely be satisfied and new listeners of such music will find it worthwhile to at least investigate the free previews. Those wanting to hear his playing will find Alone Together a better and also intriguing bet, since the overdubbing includes unexpected sounds such as percussion generated by tapping on his bass.
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.
University of Idaho, May 2004
By Jon Hammond
Bassist Joseph Patrick Moore’s latest release, “Drum & Bass Society-Vol. 1,” experiments with many styles and instrumental groupings in a way that can only be described as eclectic. Each song displays a different mix of sounds and personnel, ranging from the violin, mandolin and flute to heavily sampled drum machine tracks and echoey voices.
The album’s jazz influence is easy to hear on tracks like “Groove Messenger (The Story of Jazztronica),” where Vance Thompson’s trumpet improvisations and Frank Amato’s work on the Fender Rhodes keyboard recall Miles Davis’ recordings of the late ’60s and early ’70s. But when Moore does jazz it is wholly original, preferring a sampled trip-hop beat to the traditional drum kit sound
Just as easily as the electric jazz element is established, other tracks stick to a more pop sound. While Moore’s arrangements of Men at Work’s “Down Under” or The Fixx’s “One Thing Leads to Another” aren’t the highlights of this CD, they do provide an interesting contrast to the album’s more ethereal wanderings.
Other songs covered by Moore and his band stay closer to the group’s “jam band” sound. Jazz drummer Tony Williams’ “Creatures of Conscience” allows drummer Jeff Sipe to stretch out and show his chops, while “Heavy Things,” written by the band Phish, mixes jazzlike improvisation with programmed, Alvin-and-the-Chipmunks-esque vocals.
Moore’s technical ability on his instrument is solid, but he isn’t overly showy. In fact, on several tracks, including the album’s opener “Down Under,” he stays out of the way and lets the other instruments shine.
“Drum & Bass Society-Vol. 1” is quality recording with something a little different on each of its 15 tracks.
Bass Interview of JPM – 2004 – Click Here
“On the top of the bottom” – By Patrick Ferris
By Laura Turner Lynch
JOSEPH PATRICK MOORE – DRUM & BASS SOCIETY VOLUME 1: Drum & Bass Society is the fourth release from bassist, multi-instrumentalist, composer and producer Joseph Patrick Moore (JPM). Joseph’s influences vary from jazz greats Miles Davis and Coltrain to modern rockers such as The Police. JPM has worked with many musicians and he has played on over forty recordings from other artists. Drum & Bass Society is a fifteen-track collection that includes seven originals, five innovative covers and three quick interludes. The CD is an eclectic mix ranging from jazz, rock, world and so much more. Many talented players contribute to this dynamic collection. ‘Ghost Town’ features haunting sounds and vocals with diverse instrumentation. Funky beats blend with the mandolin and pedal steel to create an evocative modern jazz song. ‘Groove Messenger’ is an up-tempo jazz number that features dynamic drumming including the congas and an udu drum. Joseph crafts smooth cool beats on an acoustic bass as a subtle mandolin melds with a trumpet, a tenor sax and a soprano saxophone. This song has a lot of flavor and first-rate musicianship. JPM’s interpretation of The Fixx‘s ‘One Thing Leads to Another‘ is acoustic based. The highlight of the song is the flute leads and other solos giving this rock hit a more improvisational direction. JPM has compiled an eclectic mix of exotic mostly instrumental songs that are masterful!
• Recommended Tracks: (2,3,6)
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.
Creative Loafing April 2004
Creative Loafing-vibes-sit and spin
Charlotte, NC March 2004
Review by Samir Shukla
Creative Loafing Site (Charlotte, NC)
Joseph Patrick Moore has served as a member of Col. Bruce Hampton‘s Fiji Mariners and Blueground Undergrass. The bassist and multi-insrumentalist, currently based in Atlanta, produces solo records and also appears on a numerous projects as a sideman. Moore has a knack for bringing disparate musicians together into a collective that somehow manages to click. In VOLUME 1, the guest coax Moore’s seven original compositions into uptempo pop, contemporary jazz, and world fusion. There is also exotica in RAINDANCE, funk with CHEESEFROG FUNK, and groove-rock hints in HEAVY THINGS. Sure, there are tracks that would be home in a lounge somewhere, lurkin in obscurity, but most of the record works quite well. The engaging takes on several covers include The Fixx’s ONE THING LEADS TO ANOTHER, where George and Caroline Pond from Snake Oil Medicine Show add their own obtuse dimension. The Specials GHOST TOWN gets a jazzy treatment and covers of Phish, Men at Work and Tony Williams also get refurbished. Moore’s bass lines are supple, funky and don’t overwhelm the rest of the crew playing slide guitars, violin, horns, woodwinds and mandolin. His bass expecially shines in a dedication to Herbie Hancock simply entitled HERBIE.
Track to burn: GHOST TOWN
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.
Review by Smooth Zippy
Joseph Patrick Moore has done it again with another hit CD. GROOVE MESSENGER…a groove that gets your feet tapping and if you listen close a bit of Miles comes out in this track. This is one of my favorite tracks on the CD. CREATURES OF CONSCIENCE…A little of the old and a splash of the new. An upbeat sound that’s just plain cool. DOWN UNDER…Vocal Talent Temple Passmore gives this Men at Work hit a new smooth sound.
The CD is a mix of jazz, World, Pop, and a jazzy Rock Sound. A must have CD in your collection.
DigitalDreamDoor.com names JPM among 100 of the greatest jazz bass players. These bassist’s were chosen for their impact and influence within the genre and for innovative and technical qualities of their playing of the instrument.
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
Michael Tolcher tourdates announced with Maroon 5 and Gavin Degraw:
10/26 – Clifton Park, NY Northern Lights
10/28 – Orono, ME The Maine Center for the Arts
10/29 – NewYork, NY The Roseland Ballroom
10/30 – Boston, MA Paradise
10/31 – Philadelphia, PA TLA
11/02 – Toronto, ON The Opera House
11/03 – Cleveland, OH Odeon
11/04 – Detroit, MI St. Andrews
11/06 – Chicago, IL House of Blues
11/07 – Indianapolis, IN Knights of Columbus
11/08 – Milwuakee, WI The Rave/Eagles Ballroom
11/09 – Minneapolis, MN University of St. Thomas
11/10 – Waverly, IA Wartburg College
11/12 – St. Louis, MO The Pageant
11/13 – Kansas City, MO Beaumont
11/14 – Dallas, TX TBA
11/16 – Alberqurque, NM The Sundown Theatre
11/17 – Denver, CO The Filmore
11/18 – Salt Lake City Utah, UT DV8
BAND: Michael Tolcher, Siggi Burkis, Noah Pine, Greg Lee & Joseph Patrick Moore
Check out Joseph’s jazz trio project, the E.M.P. Project:
IndependentSongwriter.com has named JPM as one of the best independent Songwriters on the Internet for the Spring of 2003.
Categories and Winners for Spring 2003:
Best Independent Music Resource on the Internet: CD Baby
Best Independent Music Media on the Internet: The Orchard
Best Independent Songwriter:
Joseph Patrick Moore
Pedulla Bass has accepted JPM as Artist Endorser. Pedulla Bass generally accepts less than 2 people per year in their Artist Program and JPM was one of those selected for the year 2003.
For more info on Pedulla Bass, visit:
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.
An Honest Tune August 2002
Vol. 4, number 1
Review by Tom Speed
Though best known for his turns as the bass player for Fiji Mariners and BlueGround UnderGrass, Joseph Patrick Moore presents here on his third solo release nothing but his bass-fifteen tracks that touch on jazz, rock, and classical music. Most of the tracks were written by Moore but he also includes some interesting cover selections such as the Police’s MASOKO TANGA. Alone Together features Moore on upright acoustic and electric basses with overdubs and samples and whatever else it takes to make it work. Listening to this record, one gets the feeling of being invited into Moore’s living room for a long musical conversation that lasts well into the night.
It’s a must for bass players but is also an excellent record that captures an amazing performer and his craft.