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Aguilar Interview – Joseph Patrick Moore August 27, 2010

Date: 8-26-2010
Post: Frank Willis
Re: Joseph Patrick Moore Interviewed by Aguilar Amplification.

Recently Aguilar Amplification sat down with an exclusive interview with Joseph Patrick Moore. JPM discusses his Aguilar bass rig, playing at Crossroads Guitar Festival 2010, Earl Klugh, Col. Bruce Hampton, Stewart Copeland (The Police) and his latest CD release To Africa With Love.

READ THE INTERVIEW BY CLICKING HERE

Joseph Patrick Moore Aguilar Bass Rig

Joseph Patrick Moore's Aguilar Bass Rig

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Stewart Copeland, Daniel Hope and… March 28, 2008

Recently I got the call to perform a concert with legendary Police drummer Stewart Copeland at the Savannah, GA Music Festival. As a Police fanatic and a S.C. fan, I was excited to get an opportunity to play and make music with one of my many musical heroes. It would be safe to say that as a young kid growing up in the 1980’s, The Police we’re “My Beatles.” After the Police broke up, I would continue to follow the careers of StingAndy Summers and Stewart Copeland.

After accepting the invitation, I received the music (printed/audio) on the road and while finishing a West coast tour with Austin based blues guitarist Chris Duarte. I practiced as much as time would allow in between soundchecks, concerts, car/plane rides and hotel changes. I completed the C.D. tour on March 23rd in Denver, Colorado; and quickly flew to Savannah, Georgia for a rehearsal with Stewart on the 25th and the preceding concert on the 26th. I had less than 5 days to go over the music before hitting it with Stewart, however I was pumped.

 

Stewart Copeland and Joseph Patrick Moore

Stewart Copeland and Joseph Patrick Moore

My firstencounter with Stewart: I found him to be a very polite, humorous, warm, well tempered and courteous man. He made an effort to reach out to everyone in the group and politely introduced himself. We chit chatted a bit and off we went, down that musical journey from the Rhythmatist. In the hours that followed, it would be an intense yet rewarding experience playing the music of and with this musical genius. I was mostly a silent observer and did my best to take it all in. In short, let me just say that Stewart wasn’t there to play checkers. His passion for his craft was nothing short of inspiring.

Halfway through the concert, Stewart brought out another amazing talent, Daniel Hope. Stewart wrote a trio composition for one of his daughters that featured drums, violin, piano. During this moment of the concert, I took a seat to bare witness of this premiere work. It was astonishing! Daniel Hope tore it up and his intonation and tone was impeccable. While I didn’t play with Daniel, we chatted a bit backstage. Daniel is also a very nice chap with an amazing aura around him. Daniel might be one of the best violinists I’ve ever heard, a true madman I say!

 

Daniel Hope and Joseph Patrick Moore

Daniel Hope and Joseph Patrick Moore

 

Not to go un-noticed, the musical ensemble for this event was an amazing group of musicians/artists.

The group consisted of:
Ted Nash -reeds
Victor Goines – reeds
Walter Blanding – reeds
Carl Maraghi – reeds
Marcus Printup – trumpet
David Elliot – trombone
Ricardo Ochoa – violin
Gretchen Frazier – viola
Annalise Nelson – cello
Hans Kristian Kjos Sorensen – percussion
Kirk Brundage – percussion
Stuart Gerber – percussion
Eric Jones – piano
Andy Ripley – ewi
Mike Daly – french horn

In addition to the genuinely warm spirit of Stewart and the musical ensemble, he had a wonderful crew of people that worked on his behalf. From his manager, tour manager, production team, festival organizers; it was a top shelf entourage. Stewart’s drum tech/engineer Jeff Seitz was also a great asset (and talented drummer).  Jeff has been with Stewart for 25 + years which not only speaks volumes of his abilities and the people Stewart surrounds himself with, it also says everything about the true meaning of loyalty from Mr. Copeland. In fact, Jeff can be seen in the recently released S.C./Police documentary, Everyone Stares.

Conclusion: a high profile musical friend/artist once told me not to play with my musical heroes as they might end up disappointing me (he was speaking from experience). Well in my case, nothing could be further from the truth. Stewart is an amazing artist, a terrific human being and I was honored to be apart of this musical experience!

 

Stewart Copeland and Joseph Patrick Moore 2008

Stewart Copeland and Joseph Patrick Moore 2008 - photo by Kellie M. Walsh

 

Until next post….peace

JPM

 


 

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.

 

Kweevak.com – May 2004 May 1, 2004

Kweevak.com
By Laura Turner Lynch
Kweevak.com
http://www.kweevak.com/rd_cd_reviews_archive_02.htm

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

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


JOSEPH PATRICK MOOREDRUM & BASS SOCIETY VOLUME 1: Drum & Bass Society is the fourth release from bassist, multi-instrumentalist,
composer and producer Joseph Patrick Moore (JPM). Joseph’s influences vary from jazz greats Miles Davis and Coltrain to modern rockers such as The Police. JPM has worked with many musicians and he has played on over forty recordings from other artists. Drum & Bass Society is a fifteen-track collection that includes seven originals, five innovative covers and three quick interludes. The CD is an eclectic mix ranging from jazz, rock, world and so much more. Many talented players contribute to this dynamic collection. ‘Ghost Town’ features haunting sounds and vocals with diverse instrumentation. Funky beats blend with the mandolin and pedal steel to create an evocative modern jazz song. ‘Groove Messenger’ is an up-tempo jazz number that features dynamic drumming including the congas and an udu drum. Joseph crafts smooth cool beats on an acoustic bass as a subtle mandolin melds with a trumpet, a tenor sax and a soprano saxophone. This song has a lot of flavor and first-rate musicianship. JPM’s interpretation of The Fixx’s ‘One Thing Leads to Another’ is acoustic based. The highlight of the song is the flute leads and other solos giving this rock hit a more improvisational direction. JPM has compiled an eclectic mix of exotic mostly instrumental songs that are masterful!


• Recommended Tracks: (2,3,6)

 

All Music Guide – June 3, 2002 June 3, 2002

AllMusicGuide.com 

By Matt Collar

 

Alone Together

Alone Together

 

 

Bassists and bass fanatics should find much to salivate over on Joseph Patrick Moore’s all-bass solo CD, Alone Together. Moore performs all the basses here, more often than not multi-tracking himself with various accompaniment on different basses; he is technically proficient on both acoustic double bass and the myriad electric kinds. Interestingly, Moore even creates rhythm tracks with the various clicks and taps he generates from the bass strings, as is evident on his cover of The Police’s “Masoko Tanga.”  The music is resolutely jazz-based, but also features funk, rock, classical, world, modern atonal, and soul styles. Many of the songs lean toward the avant-garde and feature fuzzy soundscapes and impressionist textures, even when Moore attacks a standard such as the album’s namesake. Despite the impressive technical and creative abilities Moore showcases here, there is an insular quality to the recording, almost as if he made the album as a personal experiment he could control completely with no outside input. This makes for a beautiful if somewhat preconceived and clinical listen. Nonetheless, a project this ambitious and unique is worth checking out.

 

Bassically.net – May 2002 May 24, 2002

Bassically.net May 2002
Review by Cliff Engel
Bassically.net

 

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.

 

 
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