Check out JPM in the March issue of Bassics Magazine (issue #32/Dave Pomeroy). One of Joseph’s songs from the “Alone Together” CD is featured on the CD sampler that is included with every issue, as well as commentary from Joseph about the recording of this tune/album
IndependentSongwriter.com has named JPM as one of the best independent Songwriters on the Internet for the Spring of 2003.
Categories and Winners for Spring 2003:
Best Independent Music Resource on the Internet: CD Baby
Best Independent Music Media on the Internet: The Orchard
Best Independent Songwriter:
Joseph Patrick Moore
Pedulla Bass has accepted JPM as Artist Endorser. Pedulla Bass generally accepts less than 2 people per year in their Artist Program and JPM was one of those selected for the year 2003.
For more info on Pedulla Bass, visit:
JPM is currently in the studio completing his fourth CD, titled: “JPM’s Drum & Bass Society – Volume 1″. With the help of some of his friends, he has assembled an all star cast.
Bass: JPM, Adam Nitti
Drums: Electronic Drums & Percussion: Jeff Sipe, Count M’butu, Larry Blewitt, Ben Taylor, Emrah Kotan, Vic Stafford
Keys: Dr. Dan Matrazzo, Frank “buzz” Amato
Mandolin: Tim Ussery
Guitar: Johnny Mosier, Howard Parks, Brent Cundall
Pedal Steel Guitar: Mark Van Allen
Woodwinds & Horns: El Buho, Vance Thompson, David Freeman, Kenneth Lovell
Vocals: Snake Oil Medicine Show, Temple Passmore, Matthew Messer, Kirsten Shippert, Brent Cundall, Ryan Taylor, Ira Hochberg, Heather Purdin
Produced: Larry Blewitt and JPM
Mixed: Vic Stafford, JPM, Jay Ackerman
Mastered: Emily Lazar
Relix – October 2002
Vol. 29. Number 5
Review by Art Howard
Prior to the era of grunge it was popular for musicians to possess musicianship. The jamband scene has come to the rescue for those of us who still prefer players who know how to play, and one of the better bass players in the jamband world is former BlueGround UnderGrass bassist Joseph Patrick Moore. His new solo LP, ALONE TOGETHER, consists of only one instrument, the bass (electric and stand-up), multi-tracked and played in a variety of octaves to create a bass symphony. On the stylistic side, what sets Moore apart from most bass virtuosos is that he actually plays bass parts on the bass rather than guitar parts. Further distancing him from the instrumentalist flock is that ALONE TOGETHER demonstrates he is facile and versatile without turning into a circus sideshow. The tunes are low-key and understated, and he touches on an interesting variety of styles, mainly jazz, ambient and funk.
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.
Double Bassist – August 2002
Review by Malcolm Creese
Double Bassist Website
This is an extraordinary album of bass-only music by a highly talented and versatile American player. Joseph Patrick Moore visits classical, jazz and pop genres in this showcase collection, most of the 15 short titles are his, and he employs a myriad of studio devices to achieve a surprisingly complete sound. There are delays, loops, harmonics, echoes, multi-tracking and synthesizer effects. Moore is a fine player on double bass, bass guitar with and without frets and even the occasional vocal. The bottom end is obviously well catered for, but he higher registers are also there in abundance, and with accuracy and clarity. Heaven knows how many strings the various bass guitars have (lots!), but the music never sounds muddy or bottom-heavy. Moore’s fretless playing is reminiscent of the great Jaco Pastorius‘ impact on the fretless bass was so overwhemling that it is difficult not to sound like him on this instrument. Moore dedicates a track to some others who influenced him – including Dave Holland and Ron Carter – and his choice of a song by Sting gives another clue as to his list of mentors. As an extra bonus the funky Bobby McFerrin track Drive is included on the CD in video format, where the youthful Moore gives a solo bass guitar performance in what looks like his living room.
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’.
A real bass solo record featuring nothing but Moore and his multi-tracked basses. JPM employs a huge range of tones and techniques, and with chops and songwriting as varied as his, this isn’t just another CD of look at me skills.
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!
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
Homegrown Music May 2002
Dancing Tree Newsletter May 21, 2002
Review by Bryan Rodgers
Joseph Patrick Moore – Alone Together CD - Outstanding solo work from this master of the low end! This is truly a solo bass CD, with Moore using only bass to create his visions. Loops, solos, and complex compositions dot this enhanced CD, which features a video of Moore performing DRIVE, and much more. Moore is best know for hist stints with BlueGround UnderGrass and Fiji Mariners.
Your jaw will be on the floor….this guy simply tears it up!
Joseph Patrick Moore joined George Porter Jr. and Dr. Dan Matrazzo for a special night of funk at The Brandyhouse – Atlanta, GA on April 5th, 2002.
* Photos by Vincent Tseng
Psychedelic Hick Hop Jamband BlueGround UnderGrass bids farewell with last concert at the bottom line (NY, NY) on February 7th, 2002. JPM was a member of BGUG from December 2nd, 2000 till February 7th, 2002.
“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
An Honest Tune, June/2001
Review by Bryan Irby
New BlueGround UnderGrass bassist Joseph Moore (ex-Col. Bruce Hampton and the FijiMariners/Planet Zambee) has just released a second solo album on his own independent label MMP. SOULCLOUD continues in the same contemporary jazz vein as his 1996 release NEVER NEVER LAND. While much of this material is a bit too smooth for my jazz tastes there are some definite funky highlights like ASHES TO ASHES, MUMPHIS COSANOSTRA, and DATZ IT, all 3 which feature Yonrico Scott (Derek Trucks Band) on drums and Jimmy Herring on guitar. The simpler, bass-centric tunes on the album are also among the best tracks. Pause #3 is a bass, sitar & drum free-jazz piece dedicated to Miles Davis Drummer Tony Williams (Pause 1 and 2 on NEVER NEVER LAND were dedicated to Miles Davis and Jaco Pastorius). BIG BUTT BASS is exactly that: in-yer-face solo slap bass, and there’s a nice bass & saxophone take on Led Zepplin‘s GOING TO CALIFORNIA. These tunes and the hidden track ANOTHER DAY ANOTHER TIME ( a beautiful rainy-day-in-Memphis piece) outshine the title track and a cover of DUST IN THE WIND which I find unlistenable.
Catch Joseph Patrick Moore on tour with BlueGround UnderGrass or his own group.
Commercial Appeal, January 21, 2001
Review by Bill Ellis
Based in Atlanta, former Memphis Groovetet bass player Joseph Patrick Moore funks up his considerable jazz chops on SOULCLOUD which lies in the Yellowjackets/Weather Report vein through with a more rocking jam band attack at times (the highlight MUMPHIS COSONOSTRA). Moore even arranges Led Zeppelin‘s GOIN’ TO CALIFORNIA – a gentle bass sax duet – and Kansas’s Dust in the Wind which, as the record’s one misstep, is a pretty awkward one. The smooth fusion compositions by Moore and keyboardist Frank Amato benefit from the leader’s melodic grooves and give room for numerous fretboard workouts a la inspiration Jaco Pastorius. The disc’s horn players equally shine. Not many folks can walk this familar yet demanding walk. Moore, a member of Col. Bruce Hampton & the Fiji Mainers in its final year- does and convincingly so.
Catch him in town February 3rd, 2001 at Legends with BlueGround UnderGrass on Beale. Street.
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
Performer Magazine, December 2000
Review by K. Harris
Now, Joseph Patrick Moore’s Soul Cloud is a smooth and relaxing album with just a touch of funk. While listening to this album, the following is the picture that it created. If you will, please envision that you and your girl (or significant other) are sitting in a cozy, dimly lit (like a Love Jones atmosphere) couples restaurant as you two occupy a corner. Across the room on a small, low stage, there is a band playing as you two talk and laugh. Soul Cloud does not actually create a candle lit evening, but it does create a comfortable, friendly, social vibe that might make a room give quiet applause with a catcall and possibly a whistle after the band’s set. You pay attention to the music, rather than just getting lost into their dates. This is mainly an instrumental jazz collective that displays everything from string instruments to horns, with a few extras in between. Moore and company get down with songs like DATZ IT, ASHES TO ASHES, MUMPHUS COSANOSTRA, displaying nothing but musical talent. Kudos to the sax player that made his instrument wail, wallow, and cry in COSMIC DANCE. It was so impressive that it had to be rewound to ensure I heard what I thought I heard. Also JPM shows skills that were second to none in GOING TO CALIFORNIA.
To sum the album up, Soul Cloud is well-written, exquisitely produced, and fabulously performed. If this project is any indication, Joseph Patrick Moore will be delighting music listeners for many years to come.
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.