- Published on
Original Post by JPM:
In August of 2008, guitarist Dan Baraszu and I went in the studio for two days to record a live jazz duet Christmas CD. Today it has been released on Blue Canoe Records. It was honor to be able to record in an intimate setting with one of my favorite guitarist’s who happens to be a dear friend.
At first I thought this would be an easy recording project, but the more I started working out the arrangement’s in pre-production, I knew it would be quite an undertaking. Recording in a duo setting (avoiding an over-produced CD) was a very eye opening experience. The stillness and nuance required in capturing a clean performance was ever more present. Every breath, string buzz, room noise, movement was amplified once we started adding compression and effects. In a sense, this was a very naked and bare recording with no other instruments to mask the inconsistencies of our performances (particularly drums). Capturing a great performance, minus all the ambient noises was probably the biggest hurdle we had to overcome.
In August of 2008, guitarist Dan Baraszu and I went in the studio for two days to record a live jazz duet Christmas CD. Today it has been released on Blue Canoe Records. It was honor to be able to record in an intimate setting with one of my favorite guitarist’s who happens to be a dear friend.
At first I thought this would be an easy recording project, but the more I started working out the arrangement’s in pre-production, I knew it would be quite an undertaking. Recording in a duo setting (avoiding an over-produced CD) was a very eye opening experience. The stillness and nuance required in capturing a clean performance was ever more present. Every breath, string buzz, room noise, movement was amplified once we started adding compression and effects. In a sense, this was a very naked and bare recording with no other instruments to mask the inconsistencies of our performances (particularly drums). Capturing a great performance, minus all the ambient noises was probably the biggest hurdle we had to overcome.
Secondly, how many times have we heard the vast catalog of Christmas music from multiple artists over the years? Trying to re-arrange these “standard” tunes was in and of itself a challenge. The goal of course was to try and come up with something new or create a fresh unique approach to these classic songs. All in all, recording in this duo environment with Dan was a blast. I hope each of you will enjoy the CD as much as Dan and I had in performing/recording it.
- Published on
JPM produces compilation for Blue Canoe Records. This compilation titled, “Look What The Cats Drug In – Volume 1″ is an audio recording featuring The Modern Jazz Stylings Of Blue Canoe Recording artists. This CD will be released on September 16th, 2008.
- Published on
Stewart Copeland (The Police) and Joseph Patrick Moore
Original post by: Joseph Patrick Moore
Recently I got the call to perform a concert with legendary Police drummer Stewart Copeland at the Savannah, GA Music Festival. As a Police fanatic and a S.C. fan, I was excited to get an opportunity to play and make music with one of my many musical heroes. It would be safe to say that as a young kid growing up in the 1980’s, The Police we’re “My Beatles.” After the Police broke up, I would continue to follow the careers of Sting, Andy Summers and Stewart Copeland.
After accepting the invitation, I received the music (printed/audio) on the road and while finishing a West coast tour with Austin based blues guitarist Chris Duarte. I practiced as much as time would allow in between soundchecks, concerts, car/plane rides and hotel changes. I completed the C.D. tour on March 23rd in Denver, Colorado; and quickly flew to Savannah, Georgia for a rehearsal with Stewart on the 25th and the preceding concert on the 26th. I had less than 5 days to go over the music before hitting it with Stewart, however I was pumped.
Recently I got the call to perform a concert with legendary Police drummer Stewart Copeland at the Savannah, GA Music Festival. As a Police fanatic and a S.C. fan, I was excited to get an opportunity to play and make music with one of my many musical heroes. It would be safe to say that as a young kid growing up in the 1980’s, The Police we’re “My Beatles.” After the Police broke up, I would continue to follow the careers of Sting, Andy Summers and Stewart Copeland.
After accepting the invitation, I received the music (printed/audio) on the road and while finishing a West coast tour with Austin based blues guitarist Chris Duarte. I practiced as much as time would allow in between soundchecks, concerts, car/plane rides and hotel changes. I completed the C.D. tour on March 23rd in Denver, Colorado; and quickly flew to Savannah, Georgia for a rehearsal with Stewart on the 25th and the preceding concert on the 26th. I had less than 5 days to go over the music before hitting it with Stewart, however I was pumped.
My firstencounter with Stewart: I found him to be a very polite, humorous, warm, well tempered and courteous man. He made an effort to reach out to everyone in the group and politely introduced himself. We chit chatted a bit and off we went, down that musical journey from the Rhythmatist. In the hours that followed, it would be an intense yet rewarding experience playing the music of and with this musical genius. I was mostly a silent observer and did my best to take it all in. In short, let me just say that Stewart wasn’t there to play checkers. His passion for his craft was nothing short of inspiring.
Halfway through the concert, Stewart brought out another amazing talent, Daniel Hope. Stewart wrote a trio composition for one of his daughters that featured drums, violin, piano. During this moment of the concert, I took a seat to bare witness of this premiere work. It was astonishing! Daniel Hope tore it up and his intonation and tone was impeccable. While I didn’t play with Daniel, we chatted a bit backstage. Daniel is also a very nice chap with an amazing aura around him. Daniel might be one of the best violinists I’ve ever heard, a true madman I say!
Halfway through the concert, Stewart brought out another amazing talent, Daniel Hope. Stewart wrote a trio composition for one of his daughters that featured drums, violin, piano. During this moment of the concert, I took a seat to bare witness of this premiere work. It was astonishing! Daniel Hope tore it up and his intonation and tone was impeccable. While I didn’t play with Daniel, we chatted a bit backstage. Daniel is also a very nice chap with an amazing aura around him. Daniel might be one of the best violinists I’ve ever heard, a true madman I say!
Not to go un-noticed, the musical ensemble for this event was an amazing group of musicians/artists.
The group consisted of:
Ted Nash -reeds
Victor Goines – reeds
Walter Blanding – reeds
Carl Maraghi – reeds
Marcus Printup – trumpet
David Elliot – trombone
Ricardo Ochoa – violin
Gretchen Frazier – viola
Annalise Nelson – cello
Hans Kristian Kjos Sorensen – percussion
Kirk Brundage – percussion
Stuart Gerber – percussion
Eric Jones – piano
Andy Ripley – ewi
Mike Daly – french horn
In addition to the genuinely warm spirit of Stewart and the musical ensemble, he had a wonderful crew of people that worked on his behalf. From his manager, tour manager, production team, festival organizers; it was a top shelf entourage. Stewart’s drum tech/engineer Jeff Seitz was also a great asset (and talented drummer). Jeff has been with Stewart for 25 + years which not only speaks volumes of his abilities and the people Stewart surrounds himself with, it also says everything about the true meaning of loyalty from Mr. Copeland. In fact, Jeff can be seen in the recently released S.C./Police documentary, Everyone Stares.
The group consisted of:
Ted Nash -reeds
Victor Goines – reeds
Walter Blanding – reeds
Carl Maraghi – reeds
Marcus Printup – trumpet
David Elliot – trombone
Ricardo Ochoa – violin
Gretchen Frazier – viola
Annalise Nelson – cello
Hans Kristian Kjos Sorensen – percussion
Kirk Brundage – percussion
Stuart Gerber – percussion
Eric Jones – piano
Andy Ripley – ewi
Mike Daly – french horn
In addition to the genuinely warm spirit of Stewart and the musical ensemble, he had a wonderful crew of people that worked on his behalf. From his manager, tour manager, production team, festival organizers; it was a top shelf entourage. Stewart’s drum tech/engineer Jeff Seitz was also a great asset (and talented drummer). Jeff has been with Stewart for 25 + years which not only speaks volumes of his abilities and the people Stewart surrounds himself with, it also says everything about the true meaning of loyalty from Mr. Copeland. In fact, Jeff can be seen in the recently released S.C./Police documentary, Everyone Stares.
Conclusion: a high profile musical friend/artist once told me not to play with my musical heroes as they might end up disappointing me (he was speaking from experience). Well in my case, nothing could be further from the truth. Stewart is an amazing artist, a terrific human being and I was honored to be apart of this musical experience!
Stewart Copeland and Joseph Patrick Moore 2008 - photo by Kellie M. Walsh
- Published on
JPM will be performing with legendary drummer/composer Stewart Copeland in Savannah, GA on March 26, 2008. Get your tickets today!
- Published on
Blue Canoe Digital releases a co-authored ebook by JPM and Platinum music producer/Curtis Mafield alumni, Buzz Amato. This ebook is designed for all musical artists, bands, composers, arrangers, engineers and producers regardless of skill or current level of success. With over 100 pages of advice, tips, links and proven methods to help one succeed in achieving an overall balance between art and business.
Check it out today.
Check it out today.
- Published on
Today Blue Canoe Digital is releasing an ebook (downloadable electronic book)that I had the pleasure of co-authoring with famed Curtis Mayfield alumni and platinum producer, Buzz Amato.
It was a pleasure and an honor to work and compile my musical experiences for the Indie Artist/Producer Handbook. This ebook is designed for all artists, bands, composers, arrangers, engineers and producers regardless of skill or current level of success. The focus of this book is about taking control of one’s destiny, sharing your gifts and helping to achieve an overall balance between art and business.
Preview from book: (page 9)
When I was first approached about contributing to this book, I had reservations about being a part of this collaboration. While I admired and respected my fellow coauthor and while I was extremely honored to be considered for this book, I thought, “What am I going to write about?” “What do I have to offer in terms of information about surviving in the twenty-first century digital revolution?”
I started reflecting on my experiences and my growth both as a player and person and I realized that maybe I could offer a few opinions and advice to those trying to keep up with surviving in the twenty first century. I realized that from the time when I started working on my first independent CD ten years ago, that the music business has dramatically changed with the dawn of the digital age and the world wide web. In order to keep up with the ever evolving entertainment industry, I’ve had to reevaluate my mission and game plan many times in the last decade. I concluded that yes, maybe I could offer a few words of encouragement to those that want to share their music with a global audience but feel overwhelmed at where to begin.
In this twenty first century, artists/musicians/performers have to wear so many hats in order to survive, especially if you haven’t had a “hit” recording or don’t have a record deal. If you are an independent artist, It isn’t just about making music anymore, it’s also about learning how to share your sounds in this new global marketplace. The world wide web has made anything you dare to dream possible and even a reality. It is possible for an independent artist such as yourself to reach out and share your music with a global network of fans and industry at the click of your fingertips. From the planning stages of evaluating who you are and where you are going, to promoting your music, to hiring a team of professionals, to creating a synergy of your music and gifts. In my portion of this book, I will be offering advice based on my experiences with what works and what doesn’t work, things to consider and an overall balance between art and business.
** Now in its Third Edition (2011) with updates. Download your copy today.
Preview from book: (page 9)
When I was first approached about contributing to this book, I had reservations about being a part of this collaboration. While I admired and respected my fellow coauthor and while I was extremely honored to be considered for this book, I thought, “What am I going to write about?” “What do I have to offer in terms of information about surviving in the twenty-first century digital revolution?”
I started reflecting on my experiences and my growth both as a player and person and I realized that maybe I could offer a few opinions and advice to those trying to keep up with surviving in the twenty first century. I realized that from the time when I started working on my first independent CD ten years ago, that the music business has dramatically changed with the dawn of the digital age and the world wide web. In order to keep up with the ever evolving entertainment industry, I’ve had to reevaluate my mission and game plan many times in the last decade. I concluded that yes, maybe I could offer a few words of encouragement to those that want to share their music with a global audience but feel overwhelmed at where to begin.
In this twenty first century, artists/musicians/performers have to wear so many hats in order to survive, especially if you haven’t had a “hit” recording or don’t have a record deal. If you are an independent artist, It isn’t just about making music anymore, it’s also about learning how to share your sounds in this new global marketplace. The world wide web has made anything you dare to dream possible and even a reality. It is possible for an independent artist such as yourself to reach out and share your music with a global network of fans and industry at the click of your fingertips. From the planning stages of evaluating who you are and where you are going, to promoting your music, to hiring a team of professionals, to creating a synergy of your music and gifts. In my portion of this book, I will be offering advice based on my experiences with what works and what doesn’t work, things to consider and an overall balance between art and business.
** Now in its Third Edition (2011) with updates. Download your copy today.
- Published on
“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
Read Interview
– Cliff Engel
Read Interview