As of January 20, 2006: We have stopped adding JPM reviews for all past and future releases/live shows…we can’t keep up 🙂
Bass Player Magazine – April 1997 April 1, 1997
Bass Player Magazine April 1997
Review by Bill Leigh
INSTRUMENTS: Custom Pedulla 5string, fretless fender urge bass, kohler upright
This fusionesque inde solo project is a significant offering both as a showcase of Moore’s talent as player and producer and for its tasteful multi-flavored musicality. Never never Land features a nice balance of front-and-center bass work and deep, laid-back, in-the-pocket grooves, with each song as different as the many voices JPM coaxes from his instruments.
Bass Frontiers Magazine – March/April 1997 March 20, 1997
Bass Frontiers Magazine April/March 1997
Vol. #4/Number 2, page 55
Review by Jim Hyatt
I really like Joseph Patrick Moore’s new CD release. Joseph is a multi-faceted bassist who is equally skilled on fretted fretless and upright basses. His compositions are mature and seasoned nicely with dashes of originality and freshness. My only hope is that he gets signed to a label that can give him widespread distribution.
Good job Mr. Moore!
Review by Jim Hyatt
Knoxville News Sentinel – January 19th, 1997 January 19, 1997
Knoxville News Sentinel January 19, 1997
Review by Wayne Bledsoe
Knoxville News Sentinel
Former Knoxvillian Joseph Patrick Moore has taken his funky bass to the wilds of Memphis. The bassist’s new disc, NEVER NEVER LAND is a likable collection of old fashioned funk and jazz fusion. The disc also features some of the cream of the Memphis Jazz scene. Cool tunes, including INTUITION and CORNER OF THE WORLD, are easy to listen to but are an edge above much of the lite jazz on the market. Moore and the band play with thought and feeling, and every now and then toss in a hot surprise. Some of the best cuts are filled with nice brass work, and soprano saxophonist Jim Spake often stands out in the talented group.
The disc may be hard to find, but its worth searching for.
Independent Memphis Music Magazine – Winter 1996/1997 December 30, 1996
Independent Memphis Music Magazine, Winter 96/97
Review by Scott Bojko
Having seen bassist Joey Moore perform with local jazz saxophonist Carl Wolfe, as well as with a spare trio, I was curious about why he risked sounding pretentious by affecting Joseph Patrick Moore for his album, NNL. The music explains: Joey Moore is the competent young sideman, Joseph Patrick Moore is the mature jazz artist, composer, and leader-no pretense. Moore’s Jazz is contemporary, with flavorings from cool to eclectic funk to nature sounds. But let labels neither attract nor deter – just listen to the soundscapes that Moore creates. Eavesdrop on a conversation as trumpet, sax, clarinet, piano, and B3 organ trade licks on SEX IN SPACE. Let BRAVE UP ride you in an agile sports car, with responsive shifts, straight-and-turns, ups-and-downs. Experience a mist, mystical rainforest in the title track. Ponder life while strolling cosmopolitan parks and streets in some CORNER OF THE WORLD. Or heck, just mellow out on the music.
Moore produced, and composed or arranged, the entire album. In addition to the bass gamut, he performs on a slew of instruments. MOMENT TO MOMENT credits Moore on everything: 5string electric and distorted fretless bass, intro voice, drum design and fills, piano, triangles, bells, shakers, strings, harp, horns. Busy guy. Beyond conventional winds, keys and drums, Moore uses all sorts of auxiliary percussion, electronics, and effects, to add intriguint accents or to weave textures under and around melodies. He gets help from two dozen featured players, including Wolfe, Harmonica cat Pete Peterson, and Posey Hedges, who co-produced. This album includes two brief dedications to jazz icons which seem to say, thanks for your inspiration, hope you like how I’ve made it my own thing. the first PAUSE honors Miles Davis, whowould scowl appreciatively at Moore’s fusion of turntable scratching with cool muted trumpet and funky bass, ending with a racing tempo transition, the kind Miles could propel telepathically in his 60’s quintet. In PAUSE 2 for Jaco Pastorius, the solo Moore invokes the late bassist’s blurry, fretless slurs, harmonics, and chording. Another homage is Moore’s slick, all-bass rendition of Coltrane’s GIANT STEPS, employing upright, distorted fretless and 5 string electric.
NNL is an impressive achievement. Listen. Appreciate how the jazz mosaic transforms as dynamic sound images, or just funks around. You get the feeling tthat Moore has lots of experimental and improvisational inventions percolating. Under any moniker, let’s hear more Moore.
Hits Magazine – September 30th, 1996 September 30, 1996
Hits Magazine , September 30th, 1996
Received a very interesting album by bassist Joseph Patrick Moore, whose Never Never Land (MMP) contains choice and thoughtful cuts that cover a wide variety of jazz idioms. Jazz/NAC formats will find a variety of tunes to bring to listeners, including UP THE STAIRS, CORNER OF THE WORLD, SEX IN SPACE and the title cut. And those are just the start…
The Commercial Appeal – September 28th, 1996 September 28, 1996
The Commercial Appeal, September 28th, 1996
Review by Bill Ellis
The Commercial Appeal
If ever a case could be made for an ongoing jazz scene in Memphis, Moore’s disc is it. The bass player’s hand-picked ensemble is a roll call of the best of the best, including Jim Spake, Carl Wolfe, trumpeters Scott Thompson and Bill Mobley and clarinetist Lannie McMillian. Heard as well is Hammond B-3 organ phenom Charlie Wood and DDT Big Band singer Kelly Hurt, who adds a silky scat to one tune.
That Moore could gather such esteemed talent for his self-produced disc speaks volumes of the jazz bassman’s talents. Moore, who has been featured in notable guitar magazines, plays around town these days with the Memphis Groovetet. His funky bass lines will bring to mind Stanley Clarke and Jaco Pastorius, which is not bad company. He even does an all-bass arrangement of Coltrane’s Giant Steps that makes such recent bass arranged efforts by Rob Wasserman puerile in comparison.
Full of melodic invention and deft charts, Moore’s own compositions are much more than excuses to jam (something Pastorius wasn’t always sensitive to). Moore’s locally made NNL can hold its own with any national contemporary jazz record on the market today and deserves major label distribution.