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. Creative Loafing April 2004 Creative Loafing-vibes-sit and spin Charlotte, NC March 2004 Review by Samir Shukla Creative Loafing Site (Charlotte, NC) Joseph Patrick Moore has served as a member of Col. Bruce Hampton‘s Fiji Mariners and Blueground Undergrass. The bassist and multi-insrumentalist, currently based in Atlanta, produces solo records and also appears on a numerous projects as a sideman. Moore has a knack for bringing disparate musicians together into a collective that somehow manages to click. In VOLUME 1, the guest coax Moore’s seven original compositions into uptempo pop, contemporary jazz, and world fusion. There is also exotica in RAINDANCE, funk with CHEESEFROG FUNK, and groove-rock hints in HEAVY THINGS. Sure, there are tracks that would be home in a lounge somewhere, lurkin in obscurity, but most of the record works quite well. The engaging takes on several covers include The Fixx’s ONE THING LEADS TO ANOTHER, where George and Caroline Pond from Snake Oil Medicine Show add their own obtuse dimension. The Specials GHOST TOWN gets a jazzy treatment and covers of Phish, Men at Work and Tony Williams also get refurbished. Moore’s bass lines are supple, funky and don’t overwhelm the rest of the crew playing slide guitars, violin, horns, woodwinds and mandolin. His bass expecially shines in a dedication to Herbie Hancock simply entitled HERBIE. Track to burn: GHOST TOWN Grade: B Artist: Joseph Patrick Moore CD: Drum & Bass Society Volume 1 Style: Jazz/World/Pop 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. 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 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 Relix – October 2002 October/November 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. |
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