JPM Co-Produced a song with Drummer | Composer | Visual Artist - Yonrico Scott titled, "Life Of A Dreamer (Suite For Marimba)". This song has been nominated by the 2018 Roundglass Music Awards in the "Best Jazz Single" category. Congratulations to Yonrico Scott and to all the nominees!
JPM recently signed a contract with Cirque Du Soleil as an "On-Call Artist" for the residency show "KA" located at the MGM Grand in Las Vegas, Nevada. As an "On-Call Artist" JPM will be playing bass on a "as needed basis".
Note: Derek Jones is the house bassist for KA and he recently celebrated his 6,000th show. JPM in effect, will be subbing for Derek when he is unavailable for the show.
With the conclusion of 2016 and 2017 official upon us, we've added a recap of the past year. Tap here to view and check out JPM's full list of "Career Highlights".
French Bass Magazine, "Bassiste Magazine" reviews JPM's latest CD release "Decade II 2006-2015". Follow Bassiste Magazine on Facebook and check out their website.
All About Jazz has selected "Quest (feat. Yonrico Scott & Nick Rosen)" as the featured free download of the day. Additionally, this is archived on their website and you may download at anytime. To download "Quest" click this link: https://media.allaboutjazz.com/media.php?id=10746
Guitarist Barry Richman, Drummer Marcus Williams and Bassist Joseph Patrick Moore team up to record a 15 song CD titled, "Apogee". Produced by Paul Kelly (INIO Records & Kelly Tunes) and Recorded live October 19-22, 2015 at Real 2 Reel Studios in Jonesboro, GA. More Info
Joseph is one of four judges for Soundation’s Radio Remix Challenge. Other judge’s include:
The Radio Remix Challenge consist’s of remixing a song by Grammy Award Winner - Sylver Logan Sharp of Chic fame. This Remix challenge is open to all entries till Tuesday July 31, 2015.
For information on this Remix Challenge visit:
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
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…
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.
JPM has been added to the PoliceFans.org website as it relates to his performance with Stewart Copeland (Savannah, GA 2008). READ POST
The PoliceFans.org is a website dedicated to The Police and all things regarding Sting, Stewart Copeland, Andy Summers as well as sideprojects they have undertaken. The website is an “un-official site” fan website.
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?
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
Bassist Joseph Patrick Moore’s latest album Live in 05 is a fun and spirited jazz-fusion collection of songs recorded at This House Rocks in Atlanta, Georgia on April 2nd, 2005. Moore has been busy over the last few years, putting out a few albums of his own as well as appearing on various other artist’s recordings. Here, he and his crack band of Al Smith on keyboards, drummer Jon Chalden, EWI player Al Mcspadden, and percussionist Emrah Kotan really give a five performance on eleven tracks of smokin’ and funky fusion, melodic cool jazz, and progressive tinged improvisations.
Moore himself is a very smooth player with some serious chops, whether he is laying down deep grooves or lean melodic solos on electric, fretless, or double bass. Fans of Victor Bailey, Gary Willis, John Pattitucci, Stanley Clarke, and Marcus Miller, will instantly dig Moore’s energetic style. Although there are plenty of great bass solos on the album, the live setting affords his bandmates to also get in on the action, especially keyboard player Smith, who launches into a wild synth frenzy on the funky “Gypsy Moon Father Sun”. He also provides a nice melodic foundation in which Moore can dig into some serious popping bass lines on the light jazz piece “Fall”. Drummers will love the percussion/drum spotlight “Drum Dance”, which allows Chalden and Kotan some room to show off before the song segues into the fine “Datz It (version 2005)”, a song with plenty of funk bass melodies and 70’s styled electric piano.
Ultimately it comes down to compositions, and Moore is no slouch in that department. These are all memorable tunes with catchy melodies, which go along just fine with the solid chops of the band. So if you in the mood for some well played and melodic modern jazz fusion, you can’t go wrong with Live in 05.
3. Prayer of Solitude
4. Chief Dagga
5. Gypsy Moon Father Sun
6. Bless You
8. Bebop Charlie
10. Drum Dance
11. Datz It (version 2005)
Added: January 18th 2006
Reviewer: Pete Pardo
Score: 4 out 5 stars.