Joseph's work with The RockTronix documented in their Music Documentary Movie titled, "Magnificent Obsession" is now available for Rent on iTunes Movies and Amazon Instant Videos.
RAITINGS AND REVIEWS:
Joseph was interviewed by Joe Daly in Bass Guitar Magazine (UK).
You may order the digital addition here:
Bass Musician Magazine contributor and bassist Brent-Anthony Johnson interviews JPM and ask’s – Why Music Matters. You can read the full interview here
Durham Skywriter (aka Patricia A. Murray) interviews JPM via Google Hangout. The 1 hour and 34 minute video interview ranges from childhood, career, Blue Canoe Records, Current Projects and so much more. Patricia A. Murray is a DJ on WNCU in Raleigh/Durham, NC and also writes an online community paper for the Raleigh Durham North Carolina area.
Recently Paul Riley and Blue Canoe Records sat down with Joseph Patrick Moore, Chris Blackwell and Chinua Hawk on the making of Chinua Hawk’s – A Beautifully Complicated Life CD.
Check out the Joseph Patrick Moore interview at AllAboutJazz.com
* Approach to Music
* Teaching Approach
* Dream Band
* Favorite Venues
* Recorded Discography
* First Jazz Album
* Musical Contributions
* Current Listening List
* The State of Jazz Today
* Essential Elements of Jazz Appreciation
* Near Future
* If I Could…
“The world lost a great drummer today. Jimmy Junebug Jackson spent 21 years with the great Jimmy Smith and worked with a lot of incredible artist’s. Several years ago, I had the opportunity to work with Jimmy on many occasions and I was proud to call him my friend. After we got to know each other, I sat down with Junebug and did an audio interview with him on my ibook computer. The noise can be rather distracting, however in spite of this, Jimmy offers words of wisdom in this un-edited and raw interview. I would encourage all drummers/musicians to take the time and listen to the words of the late Jimmy Junebug Jackson. He will be missed, but his spirit will live on.” – Joseph Patrick Moore
Read the official Press Release
Joseph was recently interviewed by Bob Carter of Bob’s Music Connection. In this three part video interview, Joseph discusses his newest release To Africa With Love as well as his upcoming tour with Earl Klugh, Bob James and many other past/future musical adventures. Check out the video interview below or visit Bob’s Music Connection.
Cartersville, GA: 5/11/2010: – The Daily Tribune has a nice feature interview about Joseph and Blue Canoe Records.
BLUE CANOE RECORDS FOUNDER RELEASES CD, HELPS PROMOTE FELLOW JAZZ ARTISTS
Author: Marie Nesmith Features Editor
Date: May 10, 2010
Section: Local News
In his CD “To Africa with Love,” jazz musician Joseph Patrick Moore draws from his fascination of Africa for his inspiration, fusing the continent’s rhythms with his own Southern heritage. “It’s mostly instrumental but there are four songs that feature four different vocalists,” said Moore, a resident of White since 2003. “This is my eighth CD and this was something that I’ve really never done before in that I pretty much recorded, mixed, engineered, produced. I really [wore] all the hats in putting the project together and it took quite a while to do that. But that being said, there are 13 songs on it.
“Eleven are original tunes and two are cover songs. I did play all the bass. If you listen to some of the songs there’s a lot of multi-takes or multi-tracks going on, where I might play like the lead bass line or the melody line underneath the bass chords sprinkled in with I have some other musicians who participated with it as well,” he said, referring to Brian Carl, guitar; Wayne Viar, drums and percussion; and Tyrone Jackson, keys.
To be released on Tuesday, “To Africa with Love” is being physically and digitally distributed by Moore’s record label, Blue Canoe Records, which the 40-year-old musician co-owns with Travis Prescott. The CD currently is being pre-sold on Amazon.com for $11.99 and an MP3 album is available at the Amazon MP3 Downloads store for 99 cents.
“I would say [he’s] pretty versatile. It’ s kind of hard to pin down his sound,” said Prescott, who lives in Austin, Texas. “He started out years ago like a lot of guys playing rock music and pretty quickly moved to jazz. But he’s always kept his finger in a lot of different pies and you can tell that if you listen to his latest release coming out. It starts out doing a very upbeat version of a classic song and then goes quickly into smooth jazz and then he does straight-ahead jazz, which a lot of guys steer away from.”
Founded by Moore in 2003, Blue Canoe Records is based out of his residence and represents nearly 30 artists from across the globe. Along with distributing the CDs, the label puts it into the hands of radio DJs, searches for song placement in TV shows and provides materials for social media, such as electronic press kits and videos for YouTube.
“He understands what artists need and what they want and that’ s kind of how I think he got interested in it was he wanted to start a collective or sorts where musicians could draw on each other for inspiration and actual physical support when they were doing recording and performing,” Prescott said. “But it grew pretty quickly because the way he sets it up is he lets them keep all their earnings, which is very unusual. You [generally] don’t see that.
“The very stereotypical bad record label thing — he steered away from and because of that I don’t think either one of us is going to get rich. He just loves what he does and he’s passionate for it. I think artists are drawn to it and I think with all the Grammy Award winners that we’ve got on the label performing or actually being out front in some of the releases that we’ve done is kind of evidence of that.”
For Moore, Blue Canoe’s ability to provide musicians exposure who previously were “under the radar” is one of his favorite aspects of being the label’s artistic director.
“… some of these artists that we’ve taken on we’re able to provide them a little bit maybe more than they could themselves,” Moore said. “Partly because we have the distribution. We have the radio and press contacts. It really is rewarding and the other side of it is, [it is] rewarding on an emotional and spiritual level. The reality is because Blue Canoe is mostly jazz-based music, jazz typically only sells about 3 percent of the marketplace, so the audience for jazz is not very strong, just to put it mildly.
“So on a financial level I think for any jazz label [it is] kind of a challenge. There’s not as many opportunities with that, that might come with a rock or a country artist. So I don’t know necessarily if financially it has been rewarding. But outside of that, on just a personal level and seeing some of the positive things that have come [to] some of these artists’ careers, that has been extremely rewarding.”
For more information about Moore, visit JosephPatrickMoore.com or BlueCanoeRecords.com. In the near future, he also will be releasing a DVD documenting the making of “To Africa with Love.”
Copyright 2010 The Daily Tribune News, All Rights Reserved.
Recently JPM joined as an Advisory Board member to NoTreble.com. He is excited to be apart of this bass website and looks forward in watching its future growth.
Other Advisor’s include:
* Cory Brown (editor in chief)
* Sigurdór Guoemundsson
* Evan Kepner
* Will Marks
* Jon Burr
* Damien Erskine
“I’m excited to be an advisor to NoTreble.com and look forward in watching its future growth. This bass webzine is a great resource for any aspiring bassplayer regardless of style or influence and I’m honored to be apart of it.” – Joseph Patrick Moore
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!
FretlessBass.com Interviews JPM. Read the Feature/Interview - 2007
Q. What inspired you to first pick up the bass and what were your first attempts at playing it like?
A. My bass playing career started from a dream (seriously). I kept having a recurring dream that I should sell my alto saxophone/drum kit and buy an electric bass guitar. After many nights of having this same dream, I felt like I had no choice. Needless to say my first attempts at playing it was exciting yet embarrassing. Thankfully I found a great teacher and learned how to play with a proper foundation and hand position before I developed bad habits.
Q. Did you take lessons or are you self-taught?
A. I took lessons from Rusty Holloway in Knoxville, TN. Rusty is a monster player and a very talented man. He not only taught me the fundamentals of the electric bass, he also encouraged me to get a double bass and enroll in the University of Tennessee liberal arts music program. Rusty Holloway was very instrumental in steering me in the right direction(s).
Q. Who inspired you to learn the bass?
A. I started playing the bass in 1986 and was quickly influenced by the radio and mtv. At the time, I was also really into The Police as well as many heavy metal “hair bands”. In 1989 when I started college, I started focusing more on jazz artists like Charlie Parker and Miles Davis as well as their respective side musicians/careers.
Q. What is your practice regimen like?
A. My practice regimen varies a lot and is often in flux about every three months. Typically I work on transcribing, listening and composing. Currently, I’m trying to develop and work solely on my right hand thumb technique.
Q. How would you define your style of playing?
A. I’m influenced by so many different types of music and styles that its hard to pinpoint. Overall, I would say Contemporary Jazz. It’s not traditional in the straight ahead jazz style (however I can play this way) and it’s not totally smooth jazz either. It’s really more in the middle, hence the word Contemporary.
Q. Lets talk about your creative process. How do you approach writing an original song – do you compose from the bass or do you use a piano?
A. A little of both. When an idea is born, it comes out regardless of the instrument. The idea transcends the instrument. However that being said, their are certain nuances, techniques and style characteristics that lend themselves to their respective instrument and this can obviously influence and transform the original idea.
Q. What challenges do you face when switching from different styles of music?
A. For me, the more appropriate question is how I switch from double bass, electric bass and fretless bass within the musical context. This could take a while to explain so let me just say that the biggest challenge or my deepest desire is to just serve the music, regardless of the style.
Q. What other types of music or artists do you derive inspiration from?
A. I love good music and I’m influenced by so many things that I discover, particularly from the world wide web. There are just simply too many artists to mention here, but let me say that lately I’ve been checking out Pop/Electronica artist, Imogen Heap. I find her sense of songwriting, creativity and music very refreshing.
Q. What is the most important bit of advice you were given by another musician?
A. Lay back and groove, don’t try so hard. Let the music play itself.
Q. In regards to your latest release, “Decade 1996-2005″ – what can you tell us about this recording?
A. We selected tunes from my five previous CD releases and we re-mixed, re-mastered and in some cases edited the beginnings and endings of songs in order to allow for more material to be included on the CD. “Decade 1996-2005″ is 74 minutes long and there are 19 songs on this compilation. In addition, I wrote the title track “Decade” and played all the instruments.
Q. What equipment do you use live and in the studio and why?
A. I play Pedulla electric/fretless basses and a Kohler upright double bass for both live and studio projects. In the studio, I tend to go direct through a Brent Avril 2 channel 1272 preamp and for live situations I use a Walter Woods preamp with Bergantino cabinets. For a complete list of my current gear, you can find that on my website at: Gear
Q. What one piece of equipment would you advise all bassists to own?
A. A drum machine or drum sampler of some kind. In my opinion the drum machine can serve the same function as the metronome, but it goes further in developing different rhythmical aspects and styles.
Q. What is been your proudest playing moment?
A. I can’t think of a single instance right now. However, let me just say that if the music is swinging and the cats are listening, there’s nothing better.
Q. What is the biggest disaster you’ve ever had onstage, and how did you cope with it?
A. I was playing a show with BlueGround UnderGrass in Minnesota and one of my neck through Pedulla basses fell off the stand and shattered into a million pieces. I heard this horrible sound and turned around and saw that my bass was demolished. It was like starring at a dead body. Needless to say, I didn’t handle the situation very well.
Q. Do you warm up before a concert and if so how?
A. If I have time, absolutely! I’ll usually play finger permutations or the chromatic scale in order to get the blood flowing and my mind concentrating on the fundamentals of the instrument.
Q. What is the most important bit of advice you could give to new bassists?
A. “Serve the Music”. Regardless of your style or situation, put your ego on the shelf and play what the music dictates.
Q. Thanks for your time and consideration for this article and interview. Any last thoughts for our readers?
A. My last thought of the day: Find a cause greater than yourself and ask, how may I serve?
Recently I’ve been reflecting on nine principles of life. I would like to share these with you:
1. Aware of Higher Self – Listen to your inner voice.
2. Trust – Surrender, let God handle the details.
3. Observe – Look at the world, allow it to be. Don’t judge, just observe, learn and grow.
4. Attract – Have a mental picture of what you want in life, guard it.
5. Receive – Accept the natural flow of life.
6. Connect to God – Lift yourself out of your body, float into space, observe the planet, ask for God’s guidance.
7. Pray – Meditate. Use sounds to change the vibration of your frequency.
8. Patience – Be totally free of judgement and timing of delivery. When things do not appear to be materializing the way you planned, remind yourself that you are patient and unnattached to any particular schedule. Contemplate how God has been patient with you.
9. Thanks – Be thankful and avoid complaining. Ask yourself, “How may I serve?”
November 23rd, 2006 - Joseph Patrick Moore
Blue Canoe Digital releases a co-authored ebook by JPM and Platinum music producer/Curtis Mafield alumni, Buzz Amato. This ebook is designed for all musical artists, bands, composers, arrangers, engineers and producers regardless of skill or current level of success. With over 100 pages of advice, tips, links and proven methods to help one succeed in achieving an overall balance between art and business.
Check it out today.
“In this interview, Moore talks about his new recordings as a solo artist and a member of E.M.P. Project, Blue Canoe Records, doing remote sessions via the web, teaching online through MusicDojo, and the benefits of playing both electric and acoustic upright basses. Whether recording as a solo artist, performing as a member of E.M.P. Project, or touring as a sideman, Joseph Patrick Moore has demonstrated the diversity of his musical prowess across a broad spectrum of musical genres while utilizing acoustic upright, electric, and fretless basses.”
– Cliff Engel
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.
Bass Interview of JPM – 2004 – Click Here
“On the top of the bottom” – By Patrick Ferris
Check out Joseph’s jazz trio project, the E.M.P. Project:
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.