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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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Independent Memphis Music Magazine – Winter 1996/1997 December 30, 1996

Independent Memphis Music Magazine, Winter 96/97
vol.1/number 3
Review by Scott Bojko

Never Never Land

Never Never Land

 

Having seen bassist Joey Moore perform with local jazz saxophonist Carl Wolfe, as well as with a spare trio, I was curious about why he risked sounding pretentious by affecting Joseph Patrick Moore for his album, NNL. The music explains: Joey Moore is the competent young sideman, Joseph Patrick Moore is the mature jazz artist, composer, and leader-no pretense. Moore’s Jazz is contemporary, with flavorings from cool to eclectic funk to nature sounds. But let labels neither attract nor deter – just listen to the soundscapes that Moore creates. Eavesdrop on a conversation as trumpet, sax, clarinet, piano, and B3 organ trade licks on SEX IN SPACE. Let BRAVE UP ride you in an agile sports car, with responsive shifts, straight-and-turns, ups-and-downs. Experience a mist, mystical rainforest in the title track. Ponder life while strolling cosmopolitan parks and streets in some CORNER OF THE WORLD. Or heck, just mellow out on the music.

Moore produced, and composed or arranged, the entire album. In addition to the bass gamut, he performs on a slew of instruments. MOMENT TO MOMENT credits Moore on everything: 5string electric and distorted fretless bass, intro voice, drum design and fills, piano, triangles, bells, shakers, strings, harp, horns. Busy guy. Beyond conventional winds, keys and drums, Moore uses all sorts of auxiliary percussion, electronics, and effects, to add intriguint accents or to weave textures under and around melodies. He gets help from two dozen featured players, including Wolfe, Harmonica cat Pete Peterson, and Posey Hedges, who co-produced. This album includes two brief dedications to jazz icons which seem to say, thanks for your inspiration, hope you like how I’ve made it my own thing. the first PAUSE honors Miles Davis, whowould scowl appreciatively at Moore’s fusion of turntable scratching with cool muted trumpet and funky bass, ending with a racing tempo transition, the kind Miles could propel telepathically in his 60’s quintet. In PAUSE 2 for Jaco Pastorius, the solo Moore invokes the late bassist’s blurry, fretless slurs, harmonics, and chording. Another homage is Moore’s slick, all-bass rendition of Coltrane’s GIANT STEPS, employing upright, distorted fretless and 5 string electric.

NNL is an impressive achievement. Listen. Appreciate how the jazz mosaic transforms as dynamic sound images, or just funks around. You get the feeling tthat Moore has lots of experimental and improvisational inventions percolating. Under any moniker, let’s hear more Moore.

 

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…

 

 
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