Joseph Patrick Moore's

Blog/Interviews/News/Reviews

Iowa State Daily – March 2004 March 24, 2004

Joseph Patrick Moore’s Drum and Bass Society
“Volume 1” (Blue Canoe)
Compare to: Stanley Clarke, Fredalba

Review b y  — Dan Hopper

Joseph Patrick Moore's Drum & Bass Society - Volume 1

Joseph Patrick Moore's Drum & Bass Society - Volume 1

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.

Advertisements
 

AllAboutJazz.com – December 2000 December 1, 2000

 

AllAboutJazz.com
by Todd S. Jenkins

Soul Cloud

Soul Cloud

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

 

 
%d bloggers like this: