- Published on
JPM Joins The International Institute of Bassists Bass Forum and will host his own forum dedicated to
“all things bass”.
Other Forum Hosts include:
Michael Manring
Adam Nitti
Michael Dimin
Norm Stockton
Todd Johnson
Anthony Vitti
Cliff Engel
“all things bass”.
Other Forum Hosts include:
Michael Manring
Adam Nitti
Michael Dimin
Norm Stockton
Todd Johnson
Anthony Vitti
Cliff Engel
- Published on
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.
Featuring:
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
Featuring:
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
- Published on
Relix – October 2002
October/November
Vol. 29. Number 5
Review by Art Howard
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.
- Published on
An Honest Tune August 2002
August 2002
Vol. 4, number 1
Review by Tom Speed
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.
It’s a must for bass players but is also an excellent record that captures an amazing performer and his craft.
- Published on
Double Bassist – August 2002
Autumn #22
Review by Malcolm Creese
Double Bassist Website
Autumn #22
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.
- Published on
CD Title: Alone Together
Year: 2002
Record Label: Root Cellar Record
Style: Free Jazz / Avante Garde
Review By: Wendy E. Ross
Year: 2002
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’.
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’.
- Published on
Bass Player Magazine July 2002
BP Recommends
Review by Greg Olwell
Bass Player Magazine
BP Recommends
Review by Greg Olwell
Bass Player Magazine
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.
- Published on
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.
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.
- Published on
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
- Published on
Nashville Music Guide May 2002
7 out of 7 stars
Review by Brad Fischer
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!
Check it out!