Atlanta, GA (June 6th, 2016) - On June 24th, 2016 Blue Canoe Records will release “Decade II 2006-2015” from baseman and producer, Joseph Patrick Moore. Mr. Moore looks back over the past decade and remixes the hits for a fresh new perspective. His work fuses elements of contemporary jazz, for which Mr. Moore is famous, with funk, rock, pop, urban, spiritual and even electronica for a compilation that keeps listeners on their toes.
Joseph Patrick Moore is a prolific jazz, pop and rock musician as well as producer, session musician, film composer and author. He has worked with artists such as Stewart Copeland (The Police), Earl Klugh, Bob James, Chris Duarte, Celtic Women Lisa Kelly and Chloe Agnew to name a few. “Decade II” is fresh on the heels of “XYZ Factor” and “To Africa With Love” where Mr. Moore coupled its release with a mission trip to Africa. There he was involved personally on the front line of support for the amazing and lost continent. JPM gives a taste of all…work from soundtracks (Path To Geshe), solo work (XYZ Factor and To Africa With Love), group projects (The RockTronix) and projects with friends (Christmas Time Is Here with Dan Baraszu and work with Soulful genius Chinua Hawk).
“Decade II” opens with the expansive “Ubuntu” originally on “To Africa With Love” (2010). Mr Moore leads with a looped bass formation and drives a powerful line over the top. Joined by supportive guitar and keyboards, the melody tells a beautiful story of hope Moore saw during his time spend in Africa. The anthem finally gives way to a subtle electronic feel in the melody as it fades to the next track.
“Quest” is a song that JPM wrote for Yonrico Scott’s solo album, “Quest Of The Big Drum”, featuring Scott (Grammy winning drummer with The Derek Trucks Band and Royal Southern Brotherhood) and Nick Rosen. The listener enters the song on a light bed of keyboards with chaotic bass playing over the top. The chaos gradually finds peace with a deep, impassioned funk rock groove with a tantalizing melody from Rosen’s keyboard. Quest indeed!
“Magnificent Obsession” is a rock number from Mr. Moore’s band The RockTronix that is saturated with mischievous interplay between Chris Blackwell’s guitar and Mr. Moore’s sparse fretless bass line. The testimony builds throughout, graduating from funky, colorful guitar textures to full on rock guitar and back again. “Magnificent Obsession” shows again not only the versatility of Mr. Moore but also the capability of his accomplices.
“Decade II 2006-2015” is a comprehensive look at the last ten years from a true music talent of our day. Joseph Patrick Moore manages to fuse current and classic and he makes it look easy. Truly, the listener is left impatient…what will the next “Decade” bring?
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Blue Canoe Records have released "XYZ Factor" from bassman, Joseph Patrick Moore. This bold, uber-current effort fuses elements of contemporary jazz, for which Mr. Moore is famous, with electronica and the delivery is a fresh and relevant EP that will appeal to his current fans and fans of electronica alike. In the same vein as artists BT , Owl City and Moby, Mr. Moore hits the listener with a smooth, irrepressible experience that encourages listeners to use the repeat function.
Joseph Patrick Moore is a prolific jazz, pop and rock musician as well as producer, session musician, film composer and author. He has worked with artists such as Stewart Copeland (The Police), Earl Klugh, Chris Duarte and Bob James to name a few. "XYZ Factor" is fresh on the release of "To Africa With Love" where Mr. Moore coupled its release with a mission trip to Africa where he got involved on the front line of support for The Kingdom of Swaziland.
The three song EP "XYZ Factor" starts with "Yield", an ambient electronic beat backed by Mr. Moore's signature bass tone. The haunting melody sticks with the listener long after the song resolves and is supported by a bubbling beat that forces feet to move.
"Xanadu", the second track, begins with a mysterious, synthesized mood that moves from left to right. The beat gently settles in and the echo of a dreamy voice calls from above. By the time the melody falls in, the addictive beat is ingratiated into your subconscious. From classical strings to ambient keys to contemporary jazz melody, this electronic hallucination is not to be missed.
"XYZ Factor" rounds off with the full-tilt "Zig Zag Zoom". Mr. Moore infuses pop melody lines over the Owl City like beat to create a dance party right from "Play".
"XYZ Factor" is co-produced by Buzz Amato (Curtis Mayfield, Ben E. King) as player, producer, composer and arranger coupled with Mr. Moore's bass stylings and production. This EP is a cerebral experience that punches to the core of today's electronic scene. Joseph Patrick Moore manages to stay ahead of trends in his pursuit of bringing worlds together through music. "XYZ Factor" is a must-listen for fans that love jazz, electronica and all points in between.
Composer, producer and performer Joseph Patrick Moore weaves tribal rhythms into funk, pop and jazz melodies on his eighth solo release, "To Africa With Love". Mr. Moore connects with some old friends and new ones in this dedication to the Land of the Sahara. The work itself contains 13 songs that range in genre from Contemporary Jazz to Funk to Rock to Contemporary.
Moore and company utilize funky blues man Charlie Wood to spark a contemporary version of the Meters classic "Fire on the Bayou" that requires the listener to get out of their seat and move. The opening track wastes no time showing off Mr. Moore's unmatched talent on the bass as the opening bass riff socks the listener between the eyes. It's off to the races as the blistering take on the Meters' standard blends rock and urban rhythms while never losing touch with that classic southern funky feel.
The title track, "To Africa With Love" is a touching, current love song to a continent that has experienced so much injustice and tragedy. Featuring Dove award winner Seth Condrey on vocals, this touching remembrance is equally at home in Adult Contemporary or Contemporary Christian radio. When queried about the motivation for the song, Mr. Moore says, "...Music has the power to uplift, connect, heal and create universal harmony for the human race. As God's vessel, each of us are on a spiritual journey to develop and embrace the gifts He has given to us...and share them for and with our fellow man".
"Stained Glass Aura" is another standout adventure. Bold contemporary jazz bass and forceful urban rock rhythms weave in and out of the sweetest of pop melodies. Moore's masterful production and arrangement on this piece really showcase his wizardry on both the fretless and fretted bass in ways that awe and inspire the imagination.
"To Africa With Love" is an inspirational devotional to the people of Africa. It is a vibrant explorations into the genres and textures that inform contemporary composer, producer and performer Joseph Patrick Moore. Catch Moore's inspiring work in the upcoming tour with Earl Klugh and Bob James or at Eric Clapton's Crossroads Festival in Chicago with Earl Klugh.
Phenomenal Guitarist Dan Baraszu and multi-talented bassist/producer Joseph Patrick Moore offer fresh inspiration to twelve Christmas classics on the latest Blue Canoe Records release "Christmas Time is Here". The duo strikes a touching balance between the complex reharmonization of these standards and the simplistic, stripped down interplay between guitar and bass. This musical conversation is especially notable in the sweet, lullaby-infused melodic bass part of "Silent Night". The trading of melody between Mr. Baraszu and Mr. Moore strikes images of a mother gently singing the little ones to sleep as the snow gently falls outside.
The pair jump in with "God Rest Ye Merry Gentlemen", an up-tempo number featuring a jumping, rhythmic groove and haunting guitar melody. "Jingle Bells", offers up a unique coloring of another holiday classic. Again, Mr. Moore's creative groove and use of open space provides the perfect backdrop for a truly fresh version of such a seasonally routine melody.
Baraszu and Moore conclude their holiday creation with the traditional, "Angels We Have Heard on High". The bouncing bass line and almost reggae-like rhythmic feel is a sublime counter to Mr. Baraszu's contemporary version of this timeless melody.
"Christmas Time is Here" is an inspirational rendition of Christmas standards that offer a rare perspective unheard during this season. The interaction between these two notable artists is emotive and relevant long after the season is over. Mr. Baraszu and Mr. Moore converse in a beautifully woven and unique accord that's rare in a holiday release.
Punk jazz improvisational trio Megaphone Man, pride themselves on a loose avant-garde approach in creating their unique blend of jazz music. Hailing from Athens Georgia USA, Megaphone Man consists of Neal Fountain on bass, Jeff Reilly on drums and Bryan Lopes on tenor saxophone. With carefully crafted thematic notes and rhythms, this young group of virtuosos demand as much from themselves as they do the overall group interplay of their contributing melodic ideas. Megaphone Man's debut CD recording "Live At The Tabernacle", is such an experience.
Recorded live at The Tabernacle Concert Hall in Atlanta, GA USA, Megaphone Man's performance captures their forty-five minute opening set with headliner and James Brown sideman, Maceo Parker. Instrumental songs such as "Razor Egg Hunt", "Reoccurring Nightmare", "Fat Gambling Liar", "Miles of Rust" and "Bubble Hat" not only demonstrate clever and witty song titles, they musically transform these titles into a work of art. Megaphone Man is not timid in taking chances with their improvisational skills, which should be evident by the fact their debut CD is a live recording and not a conceived studio recording.
"Megaphone Man has a style all their own," states Jazziz writer James Rozzi. "The manner in which these accomplished musicians approach a particular tune will drastically change from one performance to the next. In an effort to maintain their own interests, they create an abundance of spontaneous, razor-sharp musical maneuvers for their audience. One concert with these guys is like a lesson in improvisational wit and daring." With Megaphone Man's turn-on-a-dime approach, one particular song will metamorphose numerous times--harmonically and rhythmically--before coming to a close. The end result is an exciting foray with enough depth to please an audience of hard-core jazz fans--or the more laid back patrons of the jam band circuit.
Describing the music of Megaphone Man is difficult. Although all members shy away from calling themselves a jazz trio, their music contains full elements of jazz--and then some. "We all have wide varieties of music in our backgrounds," states Fountain, "so I think it best not to call ourselves a 'jazz band' per se." Whether it's hard-bop, funk, free-form, R&B, R&R, country…you name it and Megaphone Man has it in the mix somewhere. As Lopes (whose inspirations include Coltrane and Joe Lovano) is quick to inform, "Hey, if I want to quote Led Zeppelin, I'm going to quote Led Zeppelin!"
In 2001, Atlanta based culture rag and weekly newspaper 'The Creative Loafing', named Megaphone Man the "Best Jazz Band" in the Atlanta metro area. One only has to listen to "Live At The Tabernacle" to see why the Creative Loafing title holds true. The trio of bassist Neal Fountain, saxophonist Bryan Lopes, and drummer Jeff Reilly is genuinely articulate, highly artistic, intellectually stimulating, and perhaps best of all, full of surprises. If this debut CD recording is any indication into the future of Megaphone Man, many exciting performances and musical journeys await.
"Decade", the newest release by Joseph Patrick Moore on Blue Canoe Records, contains material compiled from his recording efforts spanning the years 1996-2005. Unlike other compilation or "best of" recordings, Decade is not a testimonial of past achievements but a preface, or glimpse, into the artist's future.
JPM is a master bassist, equally proficient with upright and electric instruments; his technical virtuosity and artistic curiosity has taken him in pursuit of many musical styles. It is apparent that Moore's works are inspired by mainstream jazz and contemporary jazz as well as r&b, gospel and pop. The result of this exploratory approach to composition is fresh, imaginative, and adds an air of excitement and serves as a foil to the all too often boring and overworked state of academic classroom jazz.
A great sense of adventure thrives in this compelling 80 minute, 19 song CD. Moore pays tribute to mentors Herbie Hancock and Miles Davis with original compositions "Herbie" and "Pause 1". His solo bass version of The Police tune "Masoko Tanga" and the full-band vocal rendition of Men at Work's "Down Under" (in the spirit of Hancock's "Possibilities" and Davis "Tutu") are evidence that pop music is an excellent source of inspiration of jazz arrangements. JPM's abilities come full circle on the title track: he composed and played all the instruments on this soon to be smooth jazz anthem.
If you are searching for music with rich textures and groove oriented arrangements, look no further than Joseph Patrick Moore's Decade on Blue Canoe Records. Aptly titled, it is a remarkable odyssey through the world of contemporary jazz.
Review by: Pete Pardo
Bassist Joseph Patrick Moore’s latest album Live in 05 is a fun and spirited jazz-fusion collection of songs recorded at This House Rocks in Atlanta, Georgia on April 2nd, 2005. Moore has been busy over the last few years, putting out a few albums of his own as well as appearing on various other artist’s recordings. Here, he and his crack band of Al Smith on keyboards, drummer Jon Chalden, EWI player Al Mcspadden, and percussionist Emrah Kotan really give a five performance on eleven tracks of smokin’ and funky fusion, melodic cool jazz, and progressive tinged improvisations.
Moore himself is a very smooth player with some serious chops, whether he is laying down deep grooves or lean melodic solos on electric, fretless, or double bass. Fans of Victor Bailey, Gary Willis, John Pattitucci, Stanley Clarke, and Marcus Miller, will instantly dig Moore’s energetic style. Although there are plenty of great bass solos on the album, the live setting affords his bandmates to also get in on the action, especially keyboard player Smith, who launches into a wild synth frenzy on the funky “Gypsy Moon Father Sun”. He also provides a nice melodic foundation in which Moore can dig into some serious popping bass lines on the light jazz piece “Fall”. Drummers will love the percussion/drum spotlight “Drum Dance”, which allows Chalden and Kotan some room to show off before the song segues into the fine “Datz It (version 2005)”, a song with plenty of funk bass melodies and 70′s styled electric piano.
Ultimately it comes down to compositions, and Moore is no slouch in that department. These are all memorable tunes with catchy melodies, which go along just fine with the solid chops of the band. So if you in the mood for some well played and melodic modern jazzfusion, you can’t go wrong with Live in 05.
3. Prayer of Solitude
4. Chief Dagga
5. Gypsy Moon Father Sun
6. Bless You
8. Bebop Charlie
10. Drum Dance
11. Datz It (version 2005)
Review by: Mark Sabbatini
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.
Review by: Malcolm Creese
Issue: Autumn #22
This is an extraordinary album of bass-only music by a highly talented and versatile American player. Joseph Patrick Moore visits classical, jazz and pop genres in this showcase collection, most of the 15 short titles are his, and he employs a myriad of studio devices to achieve a surprisingly complete sound. There are delays, loops, harmonics, echoes, multi-tracking and synthesizer effects. Moore is a fine player on double bass, bass guitar with and without frets and even the occasional vocal. The bottom end is obviously well catered for, but he higher registers are also there in abundance, and with accuracy and clarity. Heaven knows how many strings the various bass guitars have (lots!), but the music never sounds muddy or bottom-heavy. Moore’s fretless playing is reminiscent of the great Jaco Pastorius‘ impact on the fretless basswas so overwhemling that it is difficult not to sound like him on this instrument. Moore dedicates a track to some others who influenced him - including Dave Holland and Ron Carter – and his choice of a song by Sting gives another clue as to his list of mentors. As an extra bonus the funky Bobby McFerrin track Drive is included on the CD in video format, where the youthful Moore gives a solo bass guitar performance in what looks like his living room.
Review by Todd S. Jenkins
Style: Fusion/Progressive Rock
Versatile Atlanta-based bassist Moore’s new album is packed with fun grooves from the word go. His technique and ideas are steeped in the electric bass developments of the past thirty years, but with a fresh contemporary edge.
The band fries up a hot passel of funk on track #1. The horns are hot and deep into the boogie, Moore’s envelope-filtered bass adds a Bootsy Collins vibe, and Aquarium Rescue Unit guitarist Jimmy Herring tempers the sauce with a cupful of hot bluesiness. Tracks #2 and #5 give the expected nod to Jaco; track #3 begins with thumping worthy of Marcus Miller and evolves into pretty double-stops. These tracks especially flaunt Moore’s studio-quality chops.
Though most of their names are unfamiliar, Moore’s sidemen are complementary, empathetic and well chosen. Pianist Bill Anschell lays down a Ramsey Lewis-style groove on #7 and Buzz Amato boots the organ around the floor before trumpeter Vance Thompson enters with soulful lyricism. Moore closes the disc with covers of classic songs by Led Zeppelin and Kansas. The former is driven smoothly along by Moore’s taut harmonics and fingerstyle melodicism, while the latter floats on an unexpectedly successful Latin jazz beat. Palmer Williams‘ vocals on the last tune are notably fluid and enjoyable. Joseph Patrick Moore is definitely a talent worth hearing, and this well-made disc will be of particular interest to electric bass aficionados.
Track listing: Datz It; Ashes To Ashes; Big Butt Bass; Soulcloud; Pause #3; Mumphis Cosanostra; Cosmic Dance; Going To California; Dust In The Wind.
Personnel: Moore, acoustic and electric basses, shaker; Jimmy Herring, guitar; Yonrico Scott, Phillip Smith, drums; Bill Anschell, Bob Marbach, piano; Frank “Buzz” Amato, keyboards; Vance Thompson, trumpet and flugelhorn; Stan Cherednik, alto and soprano saxes; Bryan Lopes, tenor sax; Palmer Williams Jr., vocals.
The Commercial Appeal, September 28th, 1996
Review by Bill Ellis
The Commercial Appeal
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.