Double Bassist – August 2002
Review by Malcolm Creese
Double Bassist Website
This is an extraordinary album of bass-only music by a highly talented and versatile American player. Joseph Patrick Moore visits classical, jazz and pop genres in this showcase collection, most of the 15 short titles are his, and he employs a myriad of studio devices to achieve a surprisingly complete sound. There are delays, loops, harmonics, echoes, multi-tracking and synthesizer effects. Moore is a fine player on double bass, bass guitar with and without frets and even the occasional vocal. The bottom end is obviously well catered for, but he higher registers are also there in abundance, and with accuracy and clarity. Heaven knows how many strings the various bass guitars have (lots!), but the music never sounds muddy or bottom-heavy. Moore’s fretless playing is reminiscent of the great Jaco Pastorius‘ impact on the fretless bass was so overwhemling that it is difficult not to sound like him on this instrument. Moore dedicates a track to some others who influenced him – including Dave Holland and Ron Carter – and his choice of a song by Sting gives another clue as to his list of mentors. As an extra bonus the funky Bobby McFerrin track Drive is included on the CD in video format, where the youthful Moore gives a solo bass guitar performance in what looks like his living room.
CD Title: Alone Together
Record Label: Root Cellar Record
Style: Free Jazz / Avante Garde
Review By: Wendy E. Ross
Review: Joseph Patrick Moore’s third solo CD, Alone Together, is an intriguing mixture of Jazz, Funk, Classical and Soul. It draws you in slowly, enchanting you with varieties of mood and space. Moore creates and populates whole landscapes with impressionistic sound. He is probably best known for his stints as a member of BlueGround UnderGrass and Col. Bruce Hampton & The Fiji Mariners.
The title cut convincingly holds it’s anchor spot, despite being the next to the last cut on the CD. Alone Together is vibratingly slow and beautiful. It’s as if Moore were blindly brailling, his bass. Moore claims this cut as his interpretation of the Dietz/Schwartz jazz standard. The thought of being ‘alone together’ with his instrument served as the inspiration for this title and for the whole album. The cut begins with western flavor, the music heavy with foreboding. It’s like the main street of a deserted gold rush town, after the mine has shutdown. In the distance storm clouds gather and the few residents left, hide indoors as if expecting the storm to blow in an outlaw along with the rain. The notes fall like leftover raindrops down a windowpane or like a single tear, sliding down a hot dusty cheek.
Cuts one and four, Waterfall and Fall, balance each other in equal and opposing measure. Waterfall has a classical, almost baroque sound, ponderous, but at the same time soaring with lighter pizzicato notes. Moore’s liner quotes speak of a waterfall being forceful yet mysterious, and that if you look closely, you can see a rainbow through the mist. Fall according to Moore, is about his favorite season of morphing color, rededication, and renewal. The bass holds full- throated, falling notes, evoking the warm, rich colors with a lush, multi-layered sound. He draws the notes out as if wanting to linger over them and not let them go.
On the cuts, Landscape, Prayer of Solitude, Masoko Tanga the bass has an Asian sound; one can almost hear a Koto and sometimes even a gong. The beginning of Landscape is other- worldly, bringing to mind a lunar terrain. Moore’s inspiration for the song was a desolate swamp, but in the distance he could see the most glorious sunset.
Cut five and six, Sooner Or Later and Bobby McFerrin‘s Drive are fun and funky. There’s a heavy beat, but also a whimsical humor. It’s a journey with various adventures along the way passing pastures with cows, one minute and ending up in a biker pub the next.
Qui-Es Tu Marie-Jeanne is a gorgeous sonorous tune, with classical leanings. The pensive searching chorus evokes the impression of nymphet in chiffon floral dress running barefoot through the winter bare gardens of a historic mansion searching for what was once there, but is now gone.
Significant musicians and events inspired several cuts on the CD. Bebop Charlie, a bold rooster strut of a tune is dedicated to Charlie ‘Yardbird’ Parker, and reminiscent of his style, Pause # 4, dedicated to Ron Carter, Dave Holland, Victor Wooten, and Bill Frisell gallops, with enough ‘airs above the ground’ to make a Lippizaner Stallion look like Pegasus. The track Numb, was a reaction to September 11th. The opening crashes in like the dissonant buzz of a TV channel with bad reception. White noise? It certainly is numbing.
The final cut Offering, speaks of the unique gift each person has to give the world. New age dissonant, with whispered ghost like poet-speak vocals, it’s hauntingly repetitive and querulous.
I’d definitely recommend Moore’s latest CD. This is not background music but an adventure that leads one on a journey of introspection. It’s disturbing, in that instead of sending you to sleep, it would be more likely to stir your creative juices. Take a listen and see if you have the courage to be ‘Alone Together’.
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.
SPIRITS IN THE BASS Joseph Patrick Moore Shares With ZoraMagazine.com
Bassist/Composer Joseph Patrick Moore's life journey has been consumed by pursuing the sounds, colors and rhythms of music. He started with alto saxophone in the fourth grade, switched to drums in the eight grade and finally found his voice through the bass, in his high school years and beyond. His fascination with music and his chosen instrument led me to contact him about the the bass, its sensual appeal and to talk about his recording of Alone Together.
"I loved the low rumble and thunder of the bass and I was immediately attracted to the tones and frequencies of this instrument." – Joseph Patrick Moore
For both the Double Bass and Electric Bass Guitar, the role of both is to provide a foundation for accompanying instrumentation, while occasionally being featured as a solo instrument. The bass is in part responsible for music's steady pulse and is used in most styles and genres of music.
Joseph Patrick Moore Shares With Zora: As a composer, I tend to write tunes that are instrumental in nature. When you don't have lyrics conveying your message, it ís challenging to tell a story without saying a word. For me, instrumental music should express that which cannot be spoken. Sometimes I write from the bass, other times I write from the piano or occasionally I will write without an instrument in my hand. With most of my music, I try to convey a mood or set the scene for the listener. The bass can be a very powerful force in dictating the mood and emotion of a song.
Composing instrumental music that features the bass throughout can have its own set of challenges. This became evident when I embarked on my third CD journey titled, Alone Together (released on Root Cellar Records-2002). My first two CD's featured many instruments, musicians, and friends. However on the recording of this particular project, I wanted to try a new approach. I wanted to release a solo bass CD featuring nothing but the bass. I wanted to try to explore the possibilities of the instrument – combining the Contrabass, the Fretless Bass and the Electric Bass – both bowed and plucked. I composed solo, duo and trio songs. One of the most challenging aspects in creating this CD was how the low frequencies would sometimes cancel each other out. I refer to this as "Spirits in the Bass". I had to really use my imagination and explore the possibilities and range of each instrument. It forced me to think differently about the "role" of the instrument. It proved to be both therapeutic and liberating.
Regardless of what instruments are used in the music creation process, music should be created with the hands of love, the ears of perception, the heart ofpassion, and the spirit of inhibition. When this is achieved, music can help stimulate and arouse ones spirit and invigorate the senses. It can open that door to the enchanted land. This is something I always try to be aware of and strive to do with my music.
Recording and Touring Artist Joseph Patrick Moore, currently resides in the Atlanta, GA area. He is an active performer, educator and he is currently completing his 4th CD with his group scheduled for release in August 2003.
Bassists and bass fanatics should find much to salivate over on Joseph Patrick Moore’s all-bass solo CD, Alone Together. Moore performs all the basses here, more often than not multi-tracking himself with various accompaniment on different basses; he is technically proficient on both acoustic double bass and the myriad electric kinds. Interestingly, Moore even creates rhythm tracks with the various clicks and taps he generates from the bass strings, as is evident on his cover of The Police’s “Masoko Tanga.” The music is resolutely jazz-based, but also features funk, rock, classical, world, modern atonal, and soul styles. Many of the songs lean toward the avant-garde and feature fuzzy soundscapes and impressionist textures, even when Moore attacks a standard such as the album’s namesake. Despite the impressive technical and creative abilities Moore showcases here, there is an insular quality to the recording, almost as if he made the album as a personal experiment he could control completely with no outside input. This makes for a beautiful if somewhat preconceived and clinical listen. Nonetheless, a project this ambitious and unique is worth checking out. - Matt Collar c/o AllMusic.com
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.
Joseph Patrick Moore joined George Porter Jr. and Dr. Dan Matrazzo for a special night of funk at The Brandyhouse – Atlanta, GA on April 5th, 2002.
* Photos by Vincent Tseng
Psychedelic Hick Hop Jamband BlueGround UnderGrass bids farewell with last concert at the bottom line (NY, NY) on February 7th, 2002. JPM was a member of BGUG from December 2nd, 2000 till February 7th, 2002.
“Intelligent, knowledgeable, and multi-talented, Joseph Patrick Moore is an accomplished bass solo artist, studio musician and band member. These are but a few of the apparent qualities to describe one of the up and coming talents taking the bass into the 21st century” – Jason Bundy
An Honest Tune, June/2001
Review by Bryan Irby
New BlueGround UnderGrass bassist Joseph Moore (ex-Col. Bruce Hampton and the FijiMariners/Planet Zambee) has just released a second solo album on his own independent label MMP. SOULCLOUD continues in the same contemporary jazz vein as his 1996 release NEVER NEVER LAND. While much of this material is a bit too smooth for my jazz tastes there are some definite funky highlights like ASHES TO ASHES, MUMPHIS COSANOSTRA, and DATZ IT, all 3 which feature Yonrico Scott (Derek Trucks Band) on drums and Jimmy Herring on guitar. The simpler, bass-centric tunes on the album are also among the best tracks. Pause #3 is a bass, sitar & drum free-jazz piece dedicated to Miles Davis Drummer Tony Williams (Pause 1 and 2 on NEVER NEVER LAND were dedicated to Miles Davis and Jaco Pastorius). BIG BUTT BASS is exactly that: in-yer-face solo slap bass, and there’s a nice bass & saxophone take on Led Zepplin‘s GOING TO CALIFORNIA. These tunes and the hidden track ANOTHER DAY ANOTHER TIME ( a beautiful rainy-day-in-Memphis piece) outshine the title track and a cover of DUST IN THE WIND which I find unlistenable.
Catch Joseph Patrick Moore on tour with BlueGround UnderGrass or his own group.
Commercial Appeal, January 21, 2001
Review by Bill Ellis
Based in Atlanta, former Memphis Groovetet bass player Joseph Patrick Moore funks up his considerable jazz chops on SOULCLOUD which lies in the Yellowjackets/Weather Report vein through with a more rocking jam band attack at times (the highlight MUMPHIS COSONOSTRA). Moore even arranges Led Zeppelin‘s GOIN’ TO CALIFORNIA – a gentle bass sax duet – and Kansas’s Dust in the Wind which, as the record’s one misstep, is a pretty awkward one. The smooth fusion compositions by Moore and keyboardist Frank Amato benefit from the leader’s melodic grooves and give room for numerous fretboard workouts a la inspiration Jaco Pastorius. The disc’s horn players equally shine. Not many folks can walk this familar yet demanding walk. Moore, a member of Col. Bruce Hampton & the Fiji Mainers in its final year- does and convincingly so.
Catch him in town February 3rd, 2001 at Legends with BlueGround UnderGrass on Beale. Street.
by Todd S. Jenkins
Versatile Atlanta-based bassist Moore’s new album is packed with fun grooves from the word go. His technique and ideas are steeped in the electric bass developments of the past thirty years, but with a fresh contemporary edge.
The band fries up a hot passel of funk on track #1. The horns are hot and deep into the boogie, Moore’s envelope-filtered bass adds a Bootsy Collins vibe, and Aquarium Rescue Unit guitarist Jimmy Herring tempers the sauce with a cupful of hot bluesiness. Tracks #2 and #5 give the expected nod to Jaco; track #3 begins with thumping worthy of Marcus Miller and evolves into pretty double-stops. These tracks especially flaunt Moore’s studio-quality chops.
Though most of their names are unfamiliar, Moore’s sidemen are complementary, empathetic and well chosen. Pianist Bill Anschell lays down a Ramsey Lewis-style groove on #7 and ‘Buzz’ Amato boots the organ around the floor before trumpeter Vance Thompson enters with soulful lyricism. Moore closes the disc with covers of classic songs by Led Zeppelin and Kansas. The former is driven smoothly along by Moore’s taut harmonics and fingerstyle melodicism, while the latter floats on an unexpectedly successful Latin jazz beat. Palmer Williams‘ vocals on the last tune are notably fluid and enjoyable. Joseph Patrick Moore is definitely a talent worth hearing, and this well-made disc will be of particular interest to electric bass aficionados.
Track listing: Datz It; Ashes To Ashes; Big Butt Bass; Soulcloud; Pause #3; Mumphis Cosanostra; Cosmic Dance; Going To California; Dust In The Wind.
Personnel: Moore, acoustic and electric basses, shaker; Jimmy Herring, guitar; Yonrico Scott, Phillip Smith, drums; Bill Anschell, Bob Marbach, piano; Frank “Buzz” Amato, keyboards; Vance Thompson, trumpet and flugelhorn; Stan Cherednik, alto and soprano saxes; Bryan Lopes, tenor sax; Palmer Williams Jr., vocals.
Style: Fusion/Progressive Rock
Published: December 01, 2000
Bassically.net, October 2000
Review by Cliff Engel
Joseph Patrick Moore, former Col. Bruce Hampton bassist, released SOULCLOUD, his second solo instrumental jazz cd on October 10, 2000. Soulcloud is the follow-up effort to Moore’s 1996 independently released debut, NEVER NEVER LAND. As a freelance bassist, Moore has displayed the diversity of his musical talents in a wide array of musical genres including various form of jazz, rock, and blues music to name just a few. On SoulCloud Moore continues to demonstrate his versatility in a number of group settings including solo, duo, trio, and full blown ensemble settings. Moore, a multi-instrumentalist, switches seemingly effortlessly between fretted and fretless electric and upright basses.
Right from its onset you’ll notice that SoulCloud is an extremely well produced offering featuring Moore’s bass talents well in front of the mix (the way recordings ought to be). On a number of the tunes I detected the funky vibes of the Col. Bruce Hampton sound which I’m certain Moore picked up during the time he spent as a member of Hampton’s own Fiji Mariners and Planet Zambee ensembles. For those of you not familiar with the Col., it was he that helped launch the career of the now renowned bass artist, Oteil Burbridge. Also those of you well-versed with the Hampton library should immediately recognize the sounds of another Hampton sideman, guitarist Jimmy Herring, who appears as one of the many featured guest performers on SoulCloud.
Moore opens SoulCloud with a tight horn arrangement on DATZ IT (my favorite piece) and reveals his impeccable technique on acoustic and electric basses. Moore then presents us with the first of five original compositions with the fretless sounds of ASHES TO ASHES. Besides the phat funk grooves which Moore proves he can undoubtedly handle with ease, Moore takes center stage for a brief moment to exhibit his tasty solo slap chops on BIG BUTT BASS (very impressive indeed) before neatly sequeing into the album’s title track. Moore shifts to a trio format of electric bass, drums and sitar on PAUSE #3, an interesting piece dedicated to the late great Tony Williams. Next Moore offers you the listener the funky sounds of the very hip MUMPHIS COSANOSTRA. Then Moore continues to expand upon his deep-in-the-pocket bassmanship within the soulful sounds of COSMIC DANCE, another Moore original composition. Finally, Moore rounds out SoulCloud with two cover tunes, Led Zeppelin’s GOING TO CALIFORNIA is a brilliant duo arrrangement featuring the unlikely combination of electric bass and soprano saxophone. However, this is primarily a solo bass arrangement consisting of arpeggiated melodic, harmonic, and chordal content. I like how Moore tints the color of this piece with the short sax section that gracefully weaves in and out of the bass content. Moore then presents the listener with a jazzed up version of DUST IN THE WIND that highlights Moore’s upright skills during the outro solo. For those of you that discover the disc’s hidden track, you’ll hear the eerie harmonic-laden sound of ANOTHER DAY ANOTHER TIME. A solo bass piece recorded on a rainy afternoon in Memphis, Tennessee back in 1994.
Bottom Line: If you have never heard the talent of Joseph Patrick Moore, it is just a matter of time before you will.
Bass Player Magazine April 1997
Review by Bill Leigh
Knoxville News Sentinel January 19, 1997
Showtime - Review by Wayne Bledsoe
Former Knoxvillian Joseph Patrick Moore has taken his funky bass to the wilds of Memphis. The bassist’s new disc, NEVER NEVER LAND is a likable collection of old fashioned funk and jazz fusion. The disc also features some of the cream of the Memphis Jazz scene. Cool tunes, including INTUITION and CORNER OF THE WORLD, are easy to listen to but are an edge above much of the lite jazz on the market. Moore and the band play with thought and feeling, and every now and then toss in a hot surprise. Some of the best cuts are filled with nice brass work, and soprano saxophonist Jim Spake often stands out in the talented group.
The disc may be hard to find, but its worth searching for.
Independent Memphis Music Magazine, Winter 96/97
Review by Scott Bojko
Having seen bassist Joey Moore perform with local jazz saxophonist Carl Wolfe, as well as with a spare trio, I was curious about why he risked sounding pretentious by affecting Joseph Patrick Moore for his album, Never Never Land. The music explains: Joey Moore is the competent young sideman, Joseph Patrick Moore is the mature jazz artist, composer, and leader-no pretense. Moore’s Jazz is contemporary, with flavorings from cool to eclectic funk to nature sounds. But let labels neither attract nor deter – just listen to the soundscapes that Moore creates. Eavesdrop on a conversation as trumpet, sax, clarinet, piano, and B3 organ trade licks on SEX IN SPACE. Let BRAVE UP ride you in an agile sports car, with responsive shifts, straight-and-turns, ups-and-downs. Experience a mist, mystical rainforest in the title track. Ponder life while strolling cosmopolitan parks and streets in some CORNER OF THE WORLD. Or heck, just mellow out on the music.
Moore produced, and composed or arranged, the entire album. In addition to the bass gamut, he performs on a slew of instruments. MOMENT TO MOMENT credits Moore on everything: 5string electric and distorted fretless bass, intro voice, drum design and fills, piano, triangles, bells, shakers, strings, harp, horns. Busy guy. Beyond conventional winds, keys and drums, Moore uses all sorts of auxiliary percussion, electronics, and effects, to add intriguint accents or to weave textures under and around melodies. He gets help from two dozen featured players, including Carl Wolfe, Harmonica cat Pete Peterson, and Posey Hedges, who co-produced. This album includes two brief dedications to jazz icons which seem to say, thanks for your inspiration, hope you like how I’ve made it my own thing. the first PAUSE honors Miles Davis, who would scowl appreciatively at Moore’s fusion of turntable scratching with cool muted trumpet and funky bass, ending with a racing tempo transition, the kind Miles could propel telepathically in his 60’s quintet. In PAUSE 2 for Jaco Pastorius, the solo Moore invokes the late bassist’s blurry, fretless slurs, harmonics, and chording. Another homage is Moore’s slick, all-bass rendition of Coltrane‘s GIANT STEPS, employing upright, distorted fretless and 5 string electric.
NNL is an impressive achievement. Listen. Appreciate how the jazz mosaic transforms as dynamic sound images, or just funks around. You get the feeling tthat Moore has lots of experimental and improvisational inventions percolating. Under any moniker, let’s hear more Moore.
If ever a case could be made for an ongoing jazz scene in Memphis, Moore’s disc is it. The bass player’s hand-picked ensemble is a roll call of the best of the best, including Jim Spake, Carl Wolfe, trumpeters Scott Thompson and Bill Mobley and clarinetist Lannie McMillian. Heard as well is Hammond B-3 organ phenom Charlie Wood and DDT Big Band singer Kelly Hurt, who adds a silky scat to one tune.
That Moore could gather such esteemed talent for his self-produced disc speaks volumes of the jazz bassman’s talents. Moore, who has been featured in notable guitar magazines, plays around town these days with the Memphis Groovetet. His funky bass lines will bring to mind Stanley Clarke and Jaco Pastorius, which is not bad company. He even does an all-bass arrangement of Coltrane‘s Giant Steps that makes such recent bass arranged efforts by Rob Wasserman puerile in comparison.
Full of melodic invention and deft charts, Moore’s own compositions are much more than excuses to jam (something Pastorius wasn’t always sensitive to). Moore’s locally made NNL can hold its own with any national contemporary jazz record on the market today and deserves major label distribution.
Guitar World - June 1994
Hometown Heroes / Mike Varney
JOSEPH PATRICK MOORE - Memphis, TN
MAIN BASS: Pedulla 5 string, Kohler Upright
INFLUENCES: Miles Davis, Donald Brown, Marcus Miller
STYLE: jazz, r&b, Hip Hop
"A musician with a broad musical background. Joseph Moore began playing saxophone in elementary school and played drums in the high school band. At 16, he took up bass guitar and began playing live just one year later. After high school, Joseph began playing upright bass and majored in music at the University of Tennessee. Over the last four years, Joseph has garnered acclaim for his playing in a variety of settings, including symphony orchestras and with artists as diverse as jazz rapper Gil Scott Heron and unrepentant folky Judy Collins. He's also been working on his music performance degree at Memphis State University. On his four song demo tape Joseph plays electric bass keyboards and guitars, as well as programming the drum machines. His songs feature innovative changes which maintain a flowing groove. Wheter he's slapping, poppin, slidding, flawing or finessing. Fans of contemporary jazz fusion bass work should find his demo to be of great interest." - Mike Varney
Bass Player Magazine October 1993
On the jazz side of the street, three promising students were recently named winners of $1,000 awards from the Milt J. Hinton Scholarship fund: Joe Martin, Joseph Moore, and Nathan Peck. Martin is a student at William Paterson College; Moore is hittin the books at Memphis State University; and Peck, a 16-year old from West Virginia, is planning to pursue private instruction. The judges were Milt Hinton himself (of course) and noted jazz bassists Jay Leonhart and Charnett Moffett. The winners were chosen on the basis of their performances, their background, and an assessement of the potential benefits of private instruction in furthering their musical development.