Joseph Patrick Moore's

Blog/Interviews/News/Reviews

InstituteOfBass.com 2006 Interview February 1, 2006

Institute of Bassists

 

 

Bass Feature/Interview of JPM – 2006 – Click Here

 

 

“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

Advertisements
 

Bassically.net – May 2002 May 24, 2002

Bassically.net May 2002
Review by Cliff Engel
Bassically.net

 

Alone Together

Alone Together

 

Drawing from a deep pool of jazz, funk, classical, and soul influences, Joseph Patrick Moore has delievered his third outing as a solo act with Alone Together. Moore’s latest project is comprised of eleven original compositions and four skillfully arranged covers from artists such as Bobby McFerrin and The Police.  As an electric/acoustic doubler, Moore has successfully combined the best of both bass worlds while utilizing only the sounds of electric fretted, fretless, and acoustic upright basses.  This effort finds Moore in solo, duo, and trio settings with perfectly orchestrated, multi-layered bass loops using both electric and acoustic basses can work together within the structure of a single piece of music in a completely coherent fashion. I can’t recall ever hearing this form of instrumentation being documented so well and convincingly. From tapping, slapping, harmonic, and chordal techniques on his electric basses to bowed, pizzicato, and walking chops on his upright bass, Moore proves he is more than totally proficient in each area. However, don’t let all of his dazzling technical displays distract you from the music and emotional content he is able to create as a result of his chops.

Bottom Line: With his previous two solo projects, Joseph Patrick Moore set the standard and firmly established himself as one of today’s up-and-coming premier bass artists. Now, with his dominating command of both acoustic and electric instruments on Alone Together, Moore has raised the bar yet again and demonstrated that he is one of the brightest electric/acoustic doublers on the scene today.

 

Bassically.net – October 2000 October 3, 2000

Bassically.net, October 2000
Review by Cliff Engel

Soul Cloud

Soul Cloud

Joseph Patrick Moore, former Col. Bruce Hampton bassist, released SOULCLOUD, his second solo instrumental jazz cd on October 10, 2000. Soulcloud is the follow-up effort to Moore’s 1996 independently released debut, NEVER NEVER LAND. As a freelance bassist, Moore has displayed the diversity of his musical talents in a wide array of musical genres including various form of jazz, rock, and blues music to name just a few. On SoulCloud Moore continues to demonstrate his versatility in a number of group settings including solo, duo, trio, and full blown ensemble settings. Moore, a multi-instrumentalist, switches seemingly effortlessly between fretted and fretless electric and upright basses.

Right from its onset you’ll notice that SoulCloud is an extremely well produced offering featuring Moore’s bass talents well in front of the mix (the way recordings ought to be). On a number of the tunes I detected the funky vibes of the Col. Bruce Hampton sound which I’m certain Moore picked up during the time he spent as a member of Hampton’s own Fiji Mariners and Planet Zambee ensembles. For those of you not familiar with the Col., it was he that helped launch the career of the now renowned bass artist, Oteil Burbridge. Also those of you well-versed with the Hampton library should immediately recognize the sounds of another Hampton sideman, guitarist Jimmy Herring, who appears as one of the many featured guest performers on SoulCloud.

Moore opens SoulCloud with a tight horn arrangement on DATZ IT (my favorite piece) and reveals his impeccable technique on acoustic and electric basses. Moore then presents us with the first of five original compositions with the fretless sounds of ASHES TO ASHES. Besides the phat funk grooves which Moore proves he can undoubtedly handle with ease, Moore takes center stage for a brief moment to exhibit his tasty solo slap chops on BIG BUTT BASS (very impressive indeed) before neatly sequeing into the album’s title track. Moore shifts to a trio format of electric bass, drums and sitar on PAUSE #3, an interesting piece dedicated to the late great Tony Williams.  Next Moore offers you the listener the funky sounds of the very hip MUMPHIS COSANOSTRA. Then Moore continues to expand upon his deep-in-the-pocket bassmanship within the soulful sounds of COSMIC DANCE, another Moore original composition. Finally, Moore rounds out SoulCloud with two cover tunes, Led Zeppelin’s GOING TO CALIFORNIA is a brilliant duo arrrangement featuring the unlikely combination of electric bass and soprano saxophone. However, this is primarily a solo bass arrangement consisting of arpeggiated melodic, harmonic, and chordal content. I like how Moore tints the color of this piece with the short sax section that gracefully weaves in and out of the bass content. Moore then presents the listener with a jazzed up version of DUST IN THE WIND that highlights Moore’s upright skills during the outro solo. For those of you that discover the disc’s hidden track, you’ll hear the eerie harmonic-laden sound of ANOTHER DAY ANOTHER TIME. A solo bass piece recorded on a rainy afternoon in Memphis, Tennessee back in 1994.

Bottom Line: If you have never heard the talent of Joseph Patrick Moore, it is just a matter of time before you will.

 

 
%d bloggers like this: