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? Eclectic. 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? Pray What do you drink onstage? Water 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? A metronome. 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? http://www.JosephPatrickMoore.com “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. 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 Argonaut Staff 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. 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) |
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