Bassically.net May 2002
Review by Cliff Engel
Drawing from a deep pool of jazz, funk, classical, and soul influences, Joseph Patrick Moore has delievered his third outing as a solo act with Alone Together. Moore’s latest project is comprised of eleven original compositions and four skillfully arranged covers from artists such as Bobby McFerrin and The Police. As an electric/acoustic doubler, Moore has successfully combined the best of both bass worlds while utilizing only the sounds of electric fretted, fretless, and acoustic upright basses. This effort finds Moore in solo, duo, and trio settings with perfectly orchestrated, multi-layered bass loops using both electric and acoustic basses can work together within the structure of a single piece of music in a completely coherent fashion. I can’t recall ever hearing this form of instrumentation being documented so well and convincingly. From tapping, slapping, harmonic, and chordal techniques on his electric basses to bowed, pizzicato, and walking chops on his upright bass, Moore proves he is more than totally proficient in each area. However, don’t let all of his dazzling technical displays distract you from the music and emotional content he is able to create as a result of his chops.
Bottom Line: With his previous two solo projects, Joseph Patrick Moore set the standard and firmly established himself as one of today’s up-and-coming premier bass artists. Now, with his dominating command of both acoustic and electric instruments on Alone Together, Moore has raised the bar yet again and demonstrated that he is one of the brightest electric/acoustic doublers on the scene today.
Independent Music – May 2002
Review by John Scalzi
Bassist Joseph Patrick Moore has put together a contemporary music album of all bass – not just bass as the highlighted instrument, but all bass all the time. However, he mixes up the bass sounds by using upright acoustic bass, picked and bowed, eletric bass, and electronically processed bass to create a whole spectrum of noise, in several genres of music, from ambient-like to jazzy. At its best (album opener WATERFALL) it creates a sonically-arresting space. At its least effective, it’s elevator music (note to JPM: Nice of you to cover Bobby McFerrin‘s DRIVE, but while you are a fine bassist, you’re really not a singer). Fortunately, there are rather more good moments than bad ones. Bassists in particular should enjoy this album as example of what their uderappreciated instrument can do, the rest of us can simply enjoy Moore’s ability to turn a single instrument into an entire band’s worth of sound
“Intelligent, knowledgeable, and multi-talented, Joseph Patrick Moore is an accomplished bass solo artist, studio musician and band member. These are but a few of the apparent qualities to describe one of the up and coming talents taking the bass into the 21st century” – Jason Bundy
by Todd S. Jenkins
Versatile Atlanta-based bassist Moore’s new album is packed with fun grooves from the word go. His technique and ideas are steeped in the electric bass developments of the past thirty years, but with a fresh contemporary edge.
The band fries up a hot passel of funk on track #1. The horns are hot and deep into the boogie, Moore’s envelope-filtered bass adds a Bootsy Collins vibe, and Aquarium Rescue Unit guitarist Jimmy Herring tempers the sauce with a cupful of hot bluesiness. Tracks #2 and #5 give the expected nod to Jaco; track #3 begins with thumping worthy of Marcus Miller and evolves into pretty double-stops. These tracks especially flaunt Moore’s studio-quality chops.
Though most of their names are unfamiliar, Moore’s sidemen are complementary, empathetic and well chosen. Pianist Bill Anschell lays down a Ramsey Lewis-style groove on #7 and ‘Buzz’ Amato boots the organ around the floor before trumpeter Vance Thompson enters with soulful lyricism. Moore closes the disc with covers of classic songs by Led Zeppelin and Kansas. The former is driven smoothly along by Moore’s taut harmonics and fingerstyle melodicism, while the latter floats on an unexpectedly successful Latin jazz beat. Palmer Williams‘ vocals on the last tune are notably fluid and enjoyable. Joseph Patrick Moore is definitely a talent worth hearing, and this well-made disc will be of particular interest to electric bass aficionados.
Track listing: Datz It; Ashes To Ashes; Big Butt Bass; Soulcloud; Pause #3; Mumphis Cosanostra; Cosmic Dance; Going To California; Dust In The Wind.
Personnel: Moore, acoustic and electric basses, shaker; Jimmy Herring, guitar; Yonrico Scott, Phillip Smith, drums; Bill Anschell, Bob Marbach, piano; Frank “Buzz” Amato, keyboards; Vance Thompson, trumpet and flugelhorn; Stan Cherednik, alto and soprano saxes; Bryan Lopes, tenor sax; Palmer Williams Jr., vocals.
Style: Fusion/Progressive Rock
Published: December 01, 2000
by Raymond Redmond
This second album from bassist Joseph Patrick Moore is good. Not superior, but solid. The first song Datz It starts out a little weak, but by the end it is full and jumping. Then comes Ashes to Ashes and you begin to think there may be something here. The keyboard work of Bill Anschell and Vance Thompson’shorn work shine here, as they do throughout the CD, and Jimmy Herring plays a wicked guitar solo in the middle.
After Big Butt Bass, a 27 second song/solo by Moore on his bass, comes the title tune. Perhaps there is a melodic harmonic intent here, but it gets by me. I found the song to be interesting but pretty atonal. It has some great horn work in it, but it would not be my choice for a title tune. After another interlude, this one a 1-1/2 minute drum-centric piece dedicated to Tony Williams, Moore comes back strong and funky on Mumphis Cosanostra. Sort of retro, this is one of the better songs on the CD, and it again features strong horn lines and some groovin keyboard lines by Anschell.
The bass throughout the album is strong and rhythmic, Moore definitely has his own style. Cosmic Dance is even more retro with it’s Chicago-esque horn lines and hammond-ish keyboards. Goin’ to California is the obligatory ‘this is my album and I’m gonna do a mostly solo song to show off my chops’ song. Stanley Clarke does it all the time, and Moore is good enough to pull it off. The CD ends up with a lively rendition of the classic pop tune ‘Dust in the Wind‘, which has more of those odd harmonies that bothered me on the title track. There is also a hidden track at the ten minutes mark o f ‘Dust’ (which fades after three minutes or so). It’s a rainy day kind of thing that is better than some of the noted songs on the CD.
With Soul Cloud, Joseph Patrick Moore has brought together some good musicians and put together a release that is a step up into the big time. A little more polish here and there, less of that odd harmony and Joseph Patrick Moore will be a major player in the Jazz world.
Talkbass, November 2000
Review by June Rhee
The first image that came to mind when I listened to SoulCloud, which features bassist Joseph Patrick Moore’s original compositions, was a swank nightclub patroned by hipsters cloaked in black leather at some unidentified New York venue. Tipping its hat to 1970s funk, this CD contains talented musicians and tight ensemble work, both of which are further strengthened by a quality recording. Solo highlights include trumpeter Vance Thompson on track 4, pianist Bill Anschell on track 2, and drummer Phillip Smith on track 5, not to mention Moore’s own bass prowess, which he shows off on an intense bass solo that evokes memoirs of Seinfeldesque city streets entitled BIG BUTT BASS. The name tells it all.
This is a strong CD, much to Moore’s credit. However, while swank isn’t necessarily a bad image, nearly 9 tracks of it does lend itself to leaving the listener rather musically parched. The instrumentation on 6 of the 9 tracks – bass, guitar, brass, drums, keyboards has little variation, and the structure of the pieces felt rather convoluted at times until the solos kicked in. The ensemble in general lacked a certain spark, incited when the members click perfectly together on a personal and musical level. Rather, I heard several talented musicians playing different instruments at the same time. Perhaps on the next CD Moore can experiment with his setup through utilizing a smaller group of musicians or varying the instrumentation on more tracks.
Moore’s arrangement of GOING TO CALIFORNIA was beautiful, providing a welcome respite from the dark, underground atmosphere of the earlier tracks. Most worthy of note was his jazzed-up arrangement of DUST IN THE WIND, to be avoided by any of you Kansas purists out there. I, on the other hand, highly enjoyed the brisk, sunny-side-up mood.
These shortcomings did little to detract from my coffee and Nutella morning ritual, however. I indeed look forward to and hope to hear more of this bassist’s creations.
Bass Player Magazine October 1993
On the jazz side of the street, three promising students were recently named winners of $1,000 awards from the Milt J. Hinton Scholarship fund: Joe Martin, Joseph Moore, and Nathan Peck. Martin is a student at William Paterson College; Moore is hittin the books at Memphis State University; and Peck, a 16-year old from West Virginia, is planning to pursue private instruction. The judges were Milt Hinton himself (of course) and noted jazz bassists Jay Leonhart and Charnett Moffett. The winners were chosen on the basis of their performances, their background, and an assessement of the potential benefits of private instruction in furthering their musical development.