Joseph Patrick Moore's

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Bass Guitar Magazine (UK) – 2004 November 21, 2004

BassGuitar Magazine (UK) November 2004
Review by Andy Long
for ThirdBass. Commisioned by Bass Guitar Magazine.

Bass Guitar Magazine Site
Bass Guitar Magazine Issue 14 

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

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

A surprisingly mellow version of Men At Work’sDown Under‘ opens this latest project from Atlanta based session man Moore. It’s an colourful album that takes a tour around some of his influences, for instance the opening track is followed by a jazz arrangement of ‘Ghost Town’ by The Specials and the songs of Tony Williams, Phish and The Fixx are also to be found. His own compositions are a cocktail of funk, jazz and soul shaken and stirred by a multitude of musicians. ‘Jamband Express‘ has a solid blues/funk feel with an irresistible groove and his tribute to Herbie Hancock, ‘Herbie‘ is a showcase for some outstanding soloing, Adam Nitti pops up on this track as an added bonus. Moore was recently named as one of the 100 greatest jazz bassist by Digital Dream Door and this album is the lastest testament to that achievement.

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AllAboutJazz.com – August 2004 August 1, 2004

AllAboutJazz.com – August 2004
Review by: Mark Sabbatini

 

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

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

 

When an album opens with a quirky reinterpretation of the 1980s hit “Down Under” it’s safe to assume the artist is looking to have a good time. Joseph Patrick Moore succeeds to a degree in bringing listeners along on Drum And Bass Society, Vol. 1, even if the cast of players doesn’t quite let its collective hair down enough to make this a consistent fun fest throughout. It’s an all-over-the-map jam band romp where nobody’s the life of the party, but almost everyone has something interesting to say if you focus on them amidst the din.

 

The fifteen tracks include seven originals by the bass player, plus reinterpretations of hits by groups such as Phish, The Specials, and The Fixx. It’s a radical departure from Moore’s 2002 multi-tracked solo album Alone Together, with the new release featuring more than twenty musicians and only a couple of songs where Moore solos—his arranging of this huge cast is the main contribution.

 

The most unfortunate moment is Moore’s slow reggae treatment of “Down Under,” which might have been a readily identifiable crowd-pleaser, but instead comes across as unimaginative and badly at odds with the album’s overall beat. The vocals are played straight and the instrumentalists avoid anything notable for a radio-safe four minutes. The concept works much better on “One Thing Leads To Another” as one of the wind players takes over immediately on flute and doesn’t let go throughout a peppery string of phrases. It’s hardly the inspired madness of the Bad Plus, but is a plus rather than a minus to the album.

 

Speaking of inspired madness, some of the better moments of it occur on the hybrid world/funk/whatever collage of “Cheesefrog Funk.” “Groove Messenger” delivers a decent bit of fusion in the style of Miles Davis, who Moore cites as one of his big influences. And the scope of variety can be seen on the rather flute-heavy New Agey “Rain Dance” and the almost mainstream jazz of “Herbie,” a tribute to pianist Herbie Hancock.

 

The CD, released on Moore’s Blue Canoe Records, has a $9 list price, and two songs, “Jamband Express” and “Groove Messenger (The Story of Jazztronica),” are available as free MP3 downloads from Moore’s web site and online vendors such as Amazon.com .

 

Moore has proven a solid player in a variety of settings since appearing on the recording scene in the mid 1990s, and this album ranks well among his releases. Fans wanting to hear him in this setting will likely be satisfied and new listeners of such music will find it worthwhile to at least investigate the free previews. Those wanting to hear his playing will find Alone Together a better and also intriguing bet, since the overdubbing includes unexpected sounds such as percussion generated by tapping on his bass.

 

CleverJoe.com – May 2004 May 11, 2004

CleverJoe.com may 2004
CleverJoe’s indie band top picks

http://www.cleverjoe.com/
http://www.cleverjoe.com/newsletter_may_2004.html
Drum & Bass Society – Joseph Patrick Moore

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

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


Although CleverJoe generally tries to select artists from the abundant good music within the thriving Canadian indie music scene, once in awhile a CD comes across his desk that really kicks his ass (which is somewhat strange because CleverJoe, one dimensional as he is, has no ass, nor for that matter a desk).

A few weeks ago, Joe was rolling along the 401, whistling a tune vaguely inspired by a song Bob Dylan once borrowed. The CD arrived a couple weeks earlier and busy as he is, Clever had not read the accompanying press release. So with no preconceptions, he reached over and popped in Joseph Patrick’s Moore’ Drum & Bass Society CD, pressed play and rolled the window down a crack.

There’s no looking back baby.

Mmmm… sweet, jazzy and intelligent, this is a great CD that goes on evolving each time it’s listened to. A mostly instrumental CD, featuring a healthy dose of uniquely arranged cover tunes backed by a solid live band with funkadelic bass, percussion, horns, woodwinds and strings.

With a peppering of electronica and soundscapes, Drum & Bass Society wanders through some unique covers of tunes by Phish, Tony Williams, Men at Work, The Specials and the Fixx. A few songs do feature a vocalist, most notably Temple Passmore on the opening track ‘Down Under‘.


Arranged by Joseph Patrick Moore, a 34 year old bassist from Knoxville, TN, Moore’s influences include Herbie Hancock, John Coltrane, The Police and Charlie Parker. Traces of all can be heard throughout the extended jams and instrument solos on the hour long CD.

The music definitely grows on you in a laid back sort of way . CleverJoe recommends you do yourself a favour and high tail it to JPM’s web site and have a taste of some Drum & Bass Society yourself. Your day will be better for it. http://www.josephpatrickmoore.com

CleverJoe Tip: This is road trip music at it’s best.

 

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

 

CelebrityCafe.com – March 2004 March 4, 2004

 

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

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

 

At first, I admit I practically threw this CD to the side. It came in a beaten envelope redirected from an address six years out of date. The CD itself looks like its seen better days and after being redirected based on the condition of the envelope I could have sworn that it was a bomb. Then I saw that this jazz band covered “Down Under” by Men at Work. Okay, they also covered Phish and the Fixx, but it was the Men at Work that struck me. Who the heck would cover that song? Especially as jazz. 

Then the vocals started, and the beat, and the drums, and the bass. The song blew me away more than the original. Simply incredible. I’m glad that the album finally made it to us, and now I repeat this one song ad nauseum throughout the office. 

Reviewer: Michael 
Reviewer’s Rating: 7.5

 

 
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