Joseph Patrick Moore's


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Click To Search JPM – May 2002 May 24, 2002 May 2002
Review by Cliff Engel


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.


Inside Savannah – November 2000 November 1, 2000

Inside Savannah , November 2000
Review by Jeff McDermott

Soul Cloud

Soul Cloud


What does a bassist do when he’s leading the session? Stay in the rhythm¬†section and you’re too subdued. Work the front of the arrangement and¬†you’re showboating. Moore, a former member of Col. Bruce Hampton’s groups¬†the Fiji Mariners and Planet Zambee tries to ride the fence on his second¬†solo CD. It’s mostly a mainstream jazz effort, showing some tasteful interplay¬†with bass and brass on cuts like DATZ IT. Things dangerously approach¬†fusion when guests like guitarist Jimmy Herring does the yank-me-crank-me¬†on ASHES TO ASHES (not the Bowie song). Fans of Joseph’s long-strange-trip¬†workouts with the Col. might find this a nice CD to play during dinner. – October 2000 October 3, 2000, 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.


Knoxville News Sentinel – January 19th, 1997 January 19, 1997

Knoxville News Sentinel January 19, 1997
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.


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