Joseph Patrick Moore's

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ZoroMagazine.com 2002 Interview June 11, 2002

Filed under: * Interviews — Frank Willis c/o Blue Canoe Digital @ 5:59 pm
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ZoroMagazine.com

Feature/Interview of JPM – 2002 – Click Here

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


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Bass Player Magazine – April 1997 April 1, 1997

Bass Player Magazine April 1997
Review by Bill Leigh
Page 73

Never Never Land

Never Never Land

 

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

Never Never Land

Never Never Land

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
Showtime
Review by Wayne Bledsoe
Knoxville News Sentinel

Never Never Land

Never Never Land

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.

 

Hits Magazine – September 30th, 1996 September 30, 1996

Hits Magazine , September 30th, 1996

Never Never Land

Never Never Land

 

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 WORLDSEX 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
Memphis, TN
The Commercial Appeal

Never Never Land

Never Never Land

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.

 

 
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