Original Post by Joseph Patrick Moore
It has been a while since I’ve made a personal blog post, as I’ve been extremely busy with many exciting projects. We hope to announce these in the coming months so stay tuned.
In the meantime, I wanted to post an issue that is very important to me. In this current state of economic/political discourse and with many changes in the air, I believe it is important to address a movement/opportunity/position that could benefit all of us. This job is a “Secretary Of The Arts” Government cabinet position. The idea of this position is to build awareness and support creative artists, through support of its creators – the artists themselves. With this cabinet post, it will demonstrate the fundamental importance of art, human well being and create the space and resources in which it can flourish. With your help, we can make this a reality.
Quincy Jones and Jaime Austria initiated the idea and it has been spreading among artists/blogs throughout the world wide web. I would encourage each of you to: SIGN THE PETITION
Thank you for your consideration.
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
“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.
What inspired you to first pick up a bass and what were your first attempts at playing it like?
I was inspired from playing drums in the school marching band, particularly the bass drum. My first attempts were bloody blister ones...
Who were your early influences and what did you learn from them?
Sting (the Police). I also found a teacher in the area and he directed me to many of the greats like Paul Chambers, James Jamerson, Ray Brown, Stanley Clarke and Jaco.
Did you take lessons or are you self-taught?
I took lessons from Rusty Holloway for 5 years and he still teaches at the University of Tennessee in Knoxville.
What's the most important bit of advice you were given by another musician?
Be well rounded and competent on both Upright and Electric bass. Create your own reality.
What's the most important bit of advice you could give to new bassists?
Study and work as hard as you can. Be focused and have a plan. Create your own reality.
Where do you stand on the old fingers vs. plectrums debate and why?
Fingers! That's where you get your sound! If you play with a pick you are limiting yourself and you aren't building those calluses.
Do you play 4, 5 or 6 string basses mainly? Fretted or unfretted?
I play Double bass, Electric 5 string and a fretless bass.
How would you define your style of playing?
Tell us a little about the artists and bands you have worked with, and how/if you adapted to playing with each of them?
I have been blessed to work with a host of artists from Col Bruce Hampton, BlueGround UnderGrass, James Williams, Leo Nocentilli (the meters) to jamming with many artists such as Phish, Oteil Burbridge, Derek Trucks, Jimmy Herring and many others.
Of the artists and bands you've played with who was the most inspirational and why?
Jimmy Herring. He was a true genuine cat who really gives of himself. He pushes you man.
Do you warm up before a concert and if so how?
Oh yes...Usually scales (chromatic scale from the lowest to highest note).
Do you have any other last minute rituals or habits before a concert?
What do you drink onstage?
Have you ever played while drunk or under the influence of drugs?
Yes. I don't endorse this and don't recommend this attribute. You are cheating yourself, the other musicians on the bandstand and your fans.
What's the biggest disaster you've ever had onstage, and how did you cope with it?
My strap broke and my bass feel to the ground. I laid on my back and finished the tune out. After the song, I had an extra strap and was back on board.
What's the biggest disaster you've ever had in the studio, and how did you cope with it?
One studio session I did was in the middle of August in Memphis, TN. It was 110 degrees. The studio had to turn off the AC while the tape was rolling because it was picking up the noise on tape. The studio felt like 150 and I was melting man. The bass kept going out of tune and I almost passed out on several occasions. It was unbearable and one of the worst sessions I have ever been involved in. Fortunately for me, it was so hot, that the studio equipment started malfunctioning due to the heat and the session was called off.
What's been your proudest playing moment?
Every time I play and share my music. As long as I have my health and feel like I have something to say, I will continue to strive to cherish every moment.
What's been the most fun playing moment, and why?
Man that's tough. It's all subjective and really a mental state. If I am playing with good cats and everyone is listening than that becomes key to having a good time.
What's been the least fun playing moment, and why?
Playing at the opening of a casino and watching green midgets parachuting from the sky...
What equipment do you use live and in the studio and why?
I use a walter woods preamp, a bergantino cabinet, monster cables, pedulla bass, Kohler upright, DR strings and lots of effects pedals.
Are you fairly flexible about the equipment you use or must you always play >with the same gear?
I like to play with the same gear. It has taken my a long time of trial and error to discover what my equipment actually is. I love what I am using now and have no plans of changing my setup.
What one piece of equipment would you advise all bass players to own?
Do you read music?
Yes. I also teach a course for bassists every 6 weeks on "How to Read Music" at: MusicDojo.com
Do you play any other instruments, and how well?
Piano, drums and guitar. I am really not very good at any of them, however I understand their function and their importance. I use my knowledge of them to enhance my writing ability as well as playing and locking in with various artists in the studio and on the stage.
Do you write or co-write songs and if so do you write on the bass?
I do write from the bass as well as the piano.
Do you ever play cover versions, and if so how do you learn the originals note for note or do you improvise you own parts?
I do some arrangements on cover tunes. I feel it is important when doing cover tunes to express who you are through them. It is important to put your stamp on them. Make them unique and different from the original.
Do you sing? Do you feel it is important?
I sing, but I'm not very good. I do feel it is important and I usually sing along with everything I am playing.
If you could nominate one song that you've recorded to sum up your playing style and feel which one would it be?
As a composition and groove song...I would say "Groovemessenger" from my drum and bass society CD. There are many songs that almost make it, but I am so critical I usually find something wrong with everyone of them, even if it's 2 seconds of the song. I'm constantly striving for it.
What have you been doing recently?
I just finished writing a collaborative book called "Indie Artist Producer Handbook". I have been working on a DVD and I have several projects slated for the first of the year.
Do you have a personal or band website? Or would you like to recommend any other useful websites?
“The interview with American bass guitarist and composer of JPM.” – Sertac Ekiz
TURKISH TO ENGLISH TRANSLATION
So far, I found a lot of artists the opportunity to work with, among them, Col.. Bruce Hampton & the Fiji Mariners, BlueGround UnderGrass, Leo Nocentelli (The Meters). Oteil Burbridge, Rob Wasserman, Jimmy Herring (The Dead), Derek Trucks, Shawn Lane, Jeff Sipe, Jon Fishman (Phish), Mike Gordon (Phish), John Popper (Blues Travelers) Gil Scott Heron, James Williams. Recent work with the CD, “Drum and Bass Society,” Two Turkish artists the opportunity to work with Patrick Moore.
American bass guitarist and composer Turkish translation of the interview we did with JPM.
Sertac Patrick’s first start with the following question; gitar’a musical career and how to push and when did you start?
Patrick: Primary school age playing the alto saxophone music and drumming with my life began oldu.Lise various studies at the level of this instrument (the school orchestra, band, etc.) continued. Bass High School sophomore was turned back and looked again and I passed gitar’a. Gitar’a stole more adapted to other instruments olmu ştum.Zaman Bass Sax and Drum increasingly turned to leave only the bass guitar and Kontrbas’a.
Sertac: Who are the influences on the time and who influenced you?
Patrick: First, Sting, James Jamerson, Jaco Pastorius, Stanley Clarke, Paul Chambers, Ray Brown, Marcus Miller on bass. Later, Miles Davis, John Coltrane, Jimi Hendrix and Herbie Hancock.
Sertac: Buy the first bass you got?
Patrick: I do not know much, but since the level of a Ibanezdi.Modelini gitardı a bass.
Sertac: albums really are very nice, fun things like this for a long time, especially Alone Together.
Patrick: Alone Together features double bass, electric bass and fretless bass was a study that opens
Sertac: Let’s talk about solo work? Whom you work? Challenges where you live?
Patrick: The first album in 1996, the “Never Never Land.” Then, “Soul Cloud” album was released in 2000. “Alone Together” is just the bass guitar … an experimental work using the 2004 Drum and Bass Society, which is more complicated to work with a structure. So far, I found a lot of artists the opportunity to work with and among them, Col.. Bruce Hampton & the Fiji Mariners, BlueGround UnderGrass, Leo Nocentelli (The Meters). Oteil Burbridge, Rob Wasserman, Jimmy Herring (The Dead), Derek Trucks, Shawn Lane, Jeff Sipe, Jon Fishman (Phish), Mike Gordon (Phish), John Popper (Blues Travelers) Gil Scott Heron, James Williams. Recent work with the CD, “Drum and Bass Society,” the opportunity to work with both the Turkish artist, and album buldum.Emrah Kotan and Zia Devletsah.Bu great men had the opportunity to write a few things.
Aside from the difficulty of doing a solo album; job is the job of a good record çıkartıyor.Anahtar words, the same vision of the producer
Sertac: The same question that I generally liked the last album, Drum and Bass Society Vol 1 if I ask for? drummer and a violinist, not Turkish friends? really interesting and beautiful, making music with them to decide how to meet?
Patrick: Zia devletsah Music by Sadler’s market outside of Atlanta, I met with. Zia is a master violin maker, except that a master performer of the violin. Drummond me along for months without any registry çalıştık.Ziya tanıştırdı.Cd with Ellis and Ellis Kotan me Turkish music, culture and heritage, shared a lot of things about the very near future in Turkey .. I really would love to play and this gerçekleitirmeyi.
Sertac: We have the greatest pleasure that Patrick.Albümle Do you think about the sequence of a tour or concert?
Patrick: America has a few dates, some names .. I worked abroad in the Junior. Those who want my site can find detailed information about the Web.
Sertac: By the way, the album Green Pedulla’nı share many sevdim.Bunu istedim.Sahne at and what equipment you use Studio?
Patrick: Thank you very Pedulla’yı Sertac.Bende really love you. (Pedulla endorsment contract with JPM) made it special for me .. I use the tool with other tools; Walter Woods, preamp, Bergantino Cabs Bass, DR stings, Pedulla Bass, Upright and KohlerA multi-effects unit.
Sertac: And the recommendations are at the end .. What happens in Turkey, bass gitar’a new friends in starting?
Patrick: find a teacher, belirlesinler objectives. Important to understand where to go because the subject … Always keep their minds open, different styles, techniques, musicians, no matter tanısınlar.Odaklansınlar and dreams in their heart.
Sertac Patrick, great pleasure to know you .. thank you for sharing with us your thoughts and your time .. get”good”new bleeding heart “:)
Patrick: Thanks, Sertac! I really related to the bass in and outside of your country that you do get the work much appreciated ediyorum.Herşey after one’s heart. Peace and love.
AllAboutJazz.com – August 2004
Review by: Mark Sabbatini
When an album opens with a quirky reinterpretation of the 1980s hit “Down Under” it’s safe to assume the artist is looking to have a good time. Joseph Patrick Moore succeeds to a degree in bringing listeners along on Drum And Bass Society, Vol. 1, even if the cast of players doesn’t quite let its collective hair down enough to make this a consistent fun fest throughout. It’s an all-over-the-map jam band romp where nobody’s the life of the party, but almost everyone has something interesting to say if you focus on them amidst the din.
The fifteen tracks include seven originals by the bass player, plus reinterpretations of hits by groups such as Phish, The Specials, and The Fixx. It’s a radical departure from Moore’s 2002 multi-tracked solo album Alone Together, with the new release featuring more than twenty musicians and only a couple of songs where Moore solos—his arranging of this huge cast is the main contribution.
The most unfortunate moment is Moore’s slow reggae treatment of “Down Under,” which might have been a readily identifiable crowd-pleaser, but instead comes across as unimaginative and badly at odds with the album’s overall beat. The vocals are played straight and the instrumentalists avoid anything notable for a radio-safe four minutes. The concept works much better on “One Thing Leads To Another” as one of the wind players takes over immediately on flute and doesn’t let go throughout a peppery string of phrases. It’s hardly the inspired madness of the Bad Plus, but is a plus rather than a minus to the album.
Speaking of inspired madness, some of the better moments of it occur on the hybrid world/funk/whatever collage of “Cheesefrog Funk.” “Groove Messenger” delivers a decent bit of fusion in the style of Miles Davis, who Moore cites as one of his big influences. And the scope of variety can be seen on the rather flute-heavy New Agey “Rain Dance” and the almost mainstream jazz of “Herbie,” a tribute to pianist Herbie Hancock.
The CD, released on Moore’s Blue Canoe Records, has a $9 list price, and two songs, “Jamband Express” and “Groove Messenger (The Story of Jazztronica),” are available as free MP3 downloads from Moore’s web site and online vendors such as Amazon.com .
Moore has proven a solid player in a variety of settings since appearing on the recording scene in the mid 1990s, and this album ranks well among his releases. Fans wanting to hear him in this setting will likely be satisfied and new listeners of such music will find it worthwhile to at least investigate the free previews. Those wanting to hear his playing will find Alone Together a better and also intriguing bet, since the overdubbing includes unexpected sounds such as percussion generated by tapping on his bass.
Vol. 5 No.3, Summer 2004
Review by Fred Adams
Joseph Patrick Moore’s Drum & Bass Society, Volume 1 has got to be one of the most intriguing new releases of the year. From the moment the disc begins, with a new spin on Men at Work‘s ‘Down Under,’ it is rapidly apparent that this Tennessee native’s musical odyssey is unlike anything else coming from the South, or anywhere else for that matter.
As much a composer as a bassist, the majority of the songs on this, Moore’s fourth solo release, are (very) original. From beginning to end, the songs are all well written, uniquely arranged, and performed with a confidence and purity of a performer doing something he obviously loves. While all of the material is strong, songs such as ‘Creatures of Conscience’ (featuring guest appearances by ARU alumni Count M’ Butu and Jeff Sipe), ‘Datz It’ (featuring Moore’s former Fiji Mariner band mate Dr. Dan Matrazzo on keyboards, along with Johnny Mosier on guitar), and the ‘Cheese Frog Funk‘ trilogy leave little doubt that this is an artist whose vast talents span many musical genres, from new age to jazz to reggae.
‘Jamband Express,’ also featuring Jeff Sipe on drums, is another masterfully played, and deceptively titled, track. While the songs name may lead one to expect sounds similar to the bass Moore became known for as he joined Col. Bruce Hampton‘s Fiji Mariners, not even a trace of his jam scene influences can be heard here. The track actually sounds more suited to be heard as the theme of a TV show, or movie soundtrack, than something one would hear on today’s jam scene.
While his own compositions are strong, Moore also seems to take great joy, and possess tremendous talents, in rearranging the material of others. Besides the aforementioned ‘Down Under,’ Moore also gives new life to another 80s pop hit, The Fixx’s ‘One Thing Leads to Another‘ (sung by George and Caroline Pond of Snake Oil Medicine Show), as well as Phish’s ‘Heavy Things‘.
Regardless of the genre he pursues, Moore plays with the class, style and skills of a man whose life is devoted to his craft. While his compositions may never lend themselves to mass commercial appeal or radio play, Drum & Bass Society proves Moore belongs in the elite echelon of today’s newest, and brightest, stars of the new age jazz world.
CleverJoe.com may 2004
CleverJoe’s indie band top picks
Drum & Bass Society – Joseph Patrick Moore
Although CleverJoe generally tries to select artists from the abundant good music within the thriving Canadian indie music scene, once in awhile a CD comes across his desk that really kicks his ass (which is somewhat strange because CleverJoe, one dimensional as he is, has no ass, nor for that matter a desk).
A few weeks ago, Joe was rolling along the 401, whistling a tune vaguely inspired by a song Bob Dylan once borrowed. The CD arrived a couple weeks earlier and busy as he is, Clever had not read the accompanying press release. So with no preconceptions, he reached over and popped in Joseph Patrick’s Moore’ Drum & Bass Society CD, pressed play and rolled the window down a crack.
There’s no looking back baby.
Mmmm… sweet, jazzy and intelligent, this is a great CD that goes on evolving each time it’s listened to. A mostly instrumental CD, featuring a healthy dose of uniquely arranged cover tunes backed by a solid live band with funkadelic bass, percussion, horns, woodwinds and strings.
With a peppering of electronica and soundscapes, Drum & Bass Society wanders through some unique covers of tunes by Phish, Tony Williams, Men at Work, The Specials and the Fixx. A few songs do feature a vocalist, most notably Temple Passmore on the opening track ‘Down Under‘.
Arranged by Joseph Patrick Moore, a 34 year old bassist from Knoxville, TN, Moore’s influences include Herbie Hancock, John Coltrane, The Police and Charlie Parker. Traces of all can be heard throughout the extended jams and instrument solos on the hour long CD.
The music definitely grows on you in a laid back sort of way . CleverJoe recommends you do yourself a favour and high tail it to JPM’s web site and have a taste of some Drum & Bass Society yourself. Your day will be better for it.
CleverJoe Tip: This is road trip music at it’s best.
University of Idaho, May 2004
By Jon Hammond
Bassist Joseph Patrick Moore’s latest release, “Drum & Bass Society-Vol. 1,” experiments with many styles and instrumental groupings in a way that can only be described as eclectic. Each song displays a different mix of sounds and personnel, ranging from the violin, mandolin and flute to heavily sampled drum machine tracks and echoey voices.
The album’s jazz influence is easy to hear on tracks like “Groove Messenger (The Story of Jazztronica),” where Vance Thompson’s trumpet improvisations and Frank Amato’s work on the Fender Rhodes keyboard recall Miles Davis’ recordings of the late ’60s and early ’70s. But when Moore does jazz it is wholly original, preferring a sampled trip-hop beat to the traditional drum kit sound
Just as easily as the electric jazz element is established, other tracks stick to a more pop sound. While Moore’s arrangements of Men at Work’s “Down Under” or The Fixx’s “One Thing Leads to Another” aren’t the highlights of this CD, they do provide an interesting contrast to the album’s more ethereal wanderings.
Other songs covered by Moore and his band stay closer to the group’s “jam band” sound. Jazz drummer Tony Williams’ “Creatures of Conscience” allows drummer Jeff Sipe to stretch out and show his chops, while “Heavy Things,” written by the band Phish, mixes jazzlike improvisation with programmed, Alvin-and-the-Chipmunks-esque vocals.
Moore’s technical ability on his instrument is solid, but he isn’t overly showy. In fact, on several tracks, including the album’s opener “Down Under,” he stays out of the way and lets the other instruments shine.
“Drum & Bass Society-Vol. 1” is quality recording with something a little different on each of its 15 tracks.
Bass Interview of JPM – 2004 – Click Here
“On the top of the bottom” – By Patrick Ferris
by Matt Shepherd
The Daily Cougar
Joseph Patrick Moore’s Drum & Bass Society’s Volume 1 is every bassist’s dream — Inviting all your eclectic musician friends over to cook up some funky, ethnic musical cuisine. JPMDBS uses more ingredients than putt-thai korat in its latest release on Blue Canoe Records. Talented and diverse musicians that are free to explore various themes in a loosely structured environment almost always yield interesting results.
From a marketing perspective, the downside to approaching a record this way is that the further one is removed from its actual performance, the less interesting the music becomes — a phenomenon that’s only amplified if the listener isn’t a musician. The onion-like layering of JPMDBS creates subtle nuances often detectable only to the musicians actually involved in the project, so don’t expect this album to break into the Top 40.
Interesting choices of material abound in Volume 1, beginning with the opening track, a cover of Men at Work’s “Down Under.” The rendition features the flute of David Freeman, the equally airy vocals of Temple Passmore and the calypso rhythms of drummer Ben Taylor and percussionists Count M’Butu and Larry Blewitt. The groove is light and breezy, but the chorus drops with the reggae earthiness of Tim Ussery’smandolin chucking.
Original composition “Groove Messenger” is a salsa-flavored nod to Miles Davis‘s Kind of Blue sessions. The samba beats provide a solid foundation for Freeman, and Vance Thompson’s modal horn jaunts into jazz age Harlem. Interesting programming and keyboard loops add a sophisticated electronic element that keeps it fresh.
The highlight of this record is the middle-eastern jam, “Cheesefrog Funk.” The frantic intro builds tension with a saxophone and a mandolin’s short bursts overlaid on the inevitable plodding of Moore himself on bass. Ziya Devletsah’s violin screams as if the electrified aeolian grains of a dust storm are bowing the strings. The violin and horns engage in a moaning dialogue over the top of an arid pocket set down by Emrah Kotan’s repetitive trash cymbals and syncopated beats along with Moore’s slap bass.
Moore showcases his bass skills on “Herbie,” a tribute to jazz/funk pioneer Herbie Hancock. He stays true to Trey Anastasio‘s playful bounce on Phish’s “Heavy Things,” which is the record’s best example of the drum ‘n’ bass with its half-time bass lines and fast jungle beats.
The talent of the musicians and their unique vision is refreshing, and the resulting music is multi-layered and wildly diverse. Volume 1 imports global elements into the realm of jazz and synthetically tweaks the mixture with electronic programming. This may please those who command a more sophisticated palette and bore those who prefer lolli-pop music.
The Verdict: Put on your headphones and pick it apart like an artichoke.
Artist: Joseph Patrick Moore
CD: Drum & Bass Society Volume 1
Quote: “Moore is a creative, mellow, almost trippy songwriter, weaving mysterious sounds and pure funk into this traditionally sophisticated genre.”
By Jennifer Layton
I’ve actually learned to enjoy the artsy, avant-garde feel of a group of jazz musicians getting together and letting the music flow, which is the vibe of this CD. I saw myself in a large art studio with paint-splattered hardwood floors and sheet music scattered on tables. The musicians just came in and started playing together, opening the windows to let the night air mix with the strings, woodwinds, and percussion.
Although Moore and Crew work in several covers, most of these songs are originals. Moore is a creative, mellow, almost trippy songwriter, weaving mysterious sounds and pure funk into this traditionally sophisticated genre. I enjoyed wandering around the swirling, incense-scented, groove-heavy funk of “Jamband Express” and the tribal, rhythmic echo of “Rain Dance.” Mental barriers melt. Time dissolves. I like hanging out with these artists and just listening to them celebrate sound.
The only problem I have is when they start doing covers. I liked two of the originals too much to see their rough edges softened into jazz/world music. Moore has turned Men At Work’s “Down Under” into a woodsy, new age, flowy sound, which doesn’t seem to match lyrics about odd characters and drunken barfing. And The Fixx’s original version of “One Thing Leads To Another” had a perfectly jagged guitar riff that matched Cy Curnin’s sharp, aggressive vocal. These two songs do not lend themselves to jazz.
Having said that, I just noticed in the liner notes that one of the musicians on the “Down Under” remake is playing a pizza box with brushes. I think Colin Hay would get a kick out of that.
Joseph Patrick Moore’s Drum and Bass Society
“Volume 1″ (Blue Canoe)
Compare to: Stanley Clarke, Fredalba
Review by — Dan Hopper
Joseph Patrick Moore has once again proven his versatility as a bass player, arranger and composer. Unfortunately, his music is all over the board stylistically, which may lower its appeal.
“Volume 1" is layered with diverse songs, all of which contain complex musical patterns. Moore and his backing musicians groove as hard as George Clinton and Parliament Funkadelic at times, and Moore’s skills on bass are definitely comparable to Funkadelic’s Bootsy Collins.
The songs have a light-hearted enough tone to fit with any jazz listener’s taste, but the superb backbeats give most of the songs a Latin and funk feel.
There is even a hint of some Caribbean and Arabian influences found throughout. “Down Under”, the leadoff track, could not have received a better title. The music sounds like it could fit perfectly with a TV advertisement for a South Pacific Island‘s vacation getaway. The music features shakers, congas, Udu drums, a mandolin, a flute and even a pizza box scraped, tapped and swirled with jazz brushes. The choice of instruments is innovative, though slightly unconventional.
“Ghost Town” starts out with a few bone-chilling screams. The lyrics mention a ghost town, but the music brings images of deserts and sandstorms with a little enchantment placed upon them.
“Creatures of Conscience,” a Tony Williams composition, has the strongest groove and features an extremely syncopated jazz-funk drum pattern. Jeff Sipe‘s tom fills, high-hat work and borderline-genius drum solo in this song are admirable, considering his name is one not generally mentioned outside of jazz and funk musician circles. “Creatures Of Conscience” is a good song, but it doesn’t seem to fit with the rest of Moore’s album. He is a bassist and the track obviously features the drums. The bass is barely noticeable.
This is without question a “musician’s album,” meaning the people who would buy it would most likely be musicians who are deeply versed in complicated musical styles or those with a deep love for groove-oriented music or appreciation in general.
Review by Smooth Zippy
Joseph Patrick Moore has done it again with another hit CD. GROOVE MESSENGER…a groove that gets your feet tapping and if you listen close a bit of Miles comes out in this track. This is one of my favorite tracks on the CD. CREATURES OF CONSCIENCE…A little of the old and a splash of the new. An upbeat sound that’s just plain cool. DOWN UNDER…Vocal Talent Temple Passmore gives this Men at Work hit a new smooth sound.
The CD is a mix of jazz, World, Pop, and a jazzy Rock Sound. A must have CD in your collection.
DigitalDreamDoor.com names JPM among 100 of the greatest jazz bass players. These bassist’s were chosen for their impact and influence within the genre and for innovative and technical qualities of their playing of the instrument.
Joseph Patrick Moore — Drum & Bass Society Vol. 1
Starting things off with “Down Under” by Men at Work, Joseph Patrick Moore also retools work by The Fixx, The Specials (“Ghost Town”), Phish (“Heavy Things”), and Tony Williams (“Creatures of Conscience”), while offering seven originals. I really dig his funky cover of The Fixx’s “One Thing Leads to Another”, which makes you remember how much great music the ‘80’s and early ‘90s had to offer. His style is jazzy progressive rock with a nod to world and funk. His bass playing is masterful and bouncy with lively tones.
Reviewed by: J-Sin
MusicDojo.com is the next generation of music education, designed for everyone who wants to further their musical goals. JPM will be offering monthly classes on “How to Read Music”, designed specifically for the Bassist, Guitarist and a General Class for All instruments. In addition, there will be two seperate classes, one for the begineer/intermediate level and the other for the other for the intermediate/advanced reader. Each class will consist of text, musical notation, etudes, selftests, audio clips, video clips and a private chatroom for JPM and fellow classmates.
After ten years, MusicDojo.com and its partners have decided to close up shop.
Check out Adam Nitti's newest education venture - AdamNittiMusicEducation.com
An Honest Tune August 2002
Vol. 4, number 1
Review by Tom Speed
Though best known for his turns as the bass player for Fiji Mariners and BlueGround UnderGrass, Joseph Patrick Moore presents here on his third solo release nothing but his bass-fifteen tracks that touch on jazz, rock, and classical music. Most of the tracks were written by Moore but he also includes some interesting cover selections such as the Police’s MASOKO TANGA. Alone Together features Moore on upright acoustic and electric basses with overdubs and samples and whatever else it takes to make it work. Listening to this record, one gets the feeling of being invited into Moore’s living room for a long musical conversation that lasts well into the night.
It’s a must for bass players but is also an excellent record that captures an amazing performer and his craft.
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’.
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!