Joseph Patrick Moore's

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University Of Idaho – The Argonaut – May 2004 May 4, 2004

University of Idaho, May 2004
By Jon Hammond
Argonaut Staff

http://www.argonaut.uidaho.edu/archives/050704/art3.html

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

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


Bassist Joseph Patrick Moore’s latest release, “Drum & Bass Society-Vol. 1,” experiments with many styles and instrumental groupings in a way that can only be described as eclectic. Each song displays a different mix of sounds and personnel, ranging from the violin, mandolin and flute to heavily sampled drum machine tracks and echoey voices.

The album’s jazz influence is easy to hear on tracks like “Groove Messenger (The Story of Jazztronica),” where Vance Thompson’s trumpet improvisations and Frank Amato’s work on the Fender Rhodes keyboard recall Miles Davis’ recordings of the late ’60s and early ’70s. But when Moore does jazz it is wholly original, preferring a sampled trip-hop beat to the traditional drum kit sound

Just as easily as the electric jazz element is established, other tracks stick to a more pop sound. While Moore’s arrangements of Men at Work’s “Down Under” or The Fixx’s “One Thing Leads to Another” aren’t the highlights of this CD, they do provide an interesting contrast to the album’s more ethereal wanderings.

Other songs covered by Moore and his band stay closer to the group’s “jam band” sound. Jazz drummer Tony Williams“Creatures of Conscience” allows drummer Jeff Sipe to stretch out and show his chops, while “Heavy Things,” written by the band Phish, mixes jazzlike improvisation with programmed, Alvin-and-the-Chipmunks-esque vocals.


Moore’s technical ability on his instrument is solid, but he isn’t overly showy. In fact, on several tracks, including the album’s opener “Down Under,” he stays out of the way and lets the other instruments shine.

“Drum & Bass Society-Vol. 1” is quality recording with something a little different on each of its 15 tracks.

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The Daily Cougar – April 2004 April 7, 2004

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

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

 

by Matt Shepherd 
The Daily Cougar

Joseph Patrick Moore’s Drum & Bass Society’s Volume 1 is every bassist’s dream — Inviting all your eclectic musician friends over to cook up some funky, ethnic musical cuisine.  JPMDBS uses more ingredients than putt-thai korat in its latest release on Blue Canoe Records. Talented and diverse musicians that are free to explore various themes in a loosely structured environment almost always yield interesting results.

From a marketing perspective, the downside to approaching a record this way is that the further one is removed from its actual performance, the less interesting the music becomes — a phenomenon that’s only amplified if the listener isn’t a musician. The onion-like layering of JPMDBS creates subtle nuances often detectable only to the musicians actually involved in the project, so don’t expect this album to break into the Top 40.

Interesting choices of material abound in Volume 1, beginning with the opening track, a cover of Men at Work’s “Down Under.” The rendition features the flute of David Freeman, the equally airy vocals of Temple Passmore and the calypso rhythms of drummer Ben Taylor and percussionists Count M’Butu and Larry Blewitt. The groove is light and breezy, but the chorus drops with the reggae earthiness of Tim Ussery’s mandolin chucking.

Original composition “Groove Messenger” is a salsa-flavored nod to Miles Davis’s Kind of Blue sessions. The samba beats provide a solid foundation for Freeman, and Vance Thompson’s modal horn jaunts into jazz age Harlem. Interesting programming and keyboard loops add a sophisticated electronic element that keeps it fresh.

The highlight of this record is the middle-eastern jam, “Cheesefrog Funk.” The frantic intro builds tension with a saxophone and a mandolin’s short bursts overlaid on the inevitable plodding of Moore himself on bass. Ziya Devletsah’s violin screams as if the electrified aeolian grains of a dust storm are bowing the strings. The violin and horns engage in a moaning dialogue over the top of an arid pocket set down by Emrah Kotan’s repetitive trash cymbals and syncopated beats along with Moore’s slap bass.

Moore showcases his bass skills on “Herbie,” a tribute to jazz/funk pioneer Herbie Hancock. He stays true to Trey Anastasio‘s playful bounce on Phish’sHeavy Things,” which is the record’s best example of the drum ‘n’ bass with its half-time bass lines and fast jungle beats.

The talent of the musicians and their unique vision is refreshing, and the resulting music is multi-layered and wildly diverse. Volume 1 imports global elements into the realm of jazz and synthetically tweaks the mixture with electronic programming. This may please those who command a more sophisticated palette and bore those who prefer lolli-pop music.

The Verdict: Put on your headphones and pick it apart like an artichoke.

Direct Link:
http://files.thedailycougar.com/static/vol69/123/arts/arts3.html

 

Creative Loafing – April 2004 April 5, 2004

Creative Loafing April 2004

Creative Loafing-vibes-sit and spin
Charlotte, NC March 2004
Review by Samir Shukla

Creative Loafing Site (Charlotte, NC)

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

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

 

Joseph Patrick Moore has served as a member of Col. Bruce Hampton’s Fiji Mariners and Blueground Undergrass. The bassist and multi-insrumentalist, currently based in Atlanta, produces solo records and also appears on a numerous projects as a sideman. Moore has a knack for bringing disparate musicians together into a collective that somehow manages to click. In VOLUME 1, the guest coax Moore’s seven original compositions into uptempo pop, contemporary jazz, and world fusion. There is also exotica in RAINDANCE, funk with CHEESEFROG FUNK, and groove-rock hints in HEAVY THINGS.  Sure, there are tracks that would be home in a lounge somewhere, lurkin in obscurity, but most of the record works quite well. The engaging takes on several covers include The Fixx’s ONE THING LEADS TO ANOTHER, where George and Caroline Pond from Snake Oil Medicine Show add their own obtuse dimension. The Specials GHOST TOW gets a jazzy treatment and covers of Phish, Men at Work and Tony Williams also get refurbished. Moore’s bass lines are supple, funky and don’t overwhelm the rest of the crew playing slide guitars, violin, horns, woodwinds and mandolin. His bass expecially shines in a dedication to Herbie Hancock simply entitled HERBIE.

Track to burn: GHOST TOWN
Grade: B

 

 
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