Joseph Patrick Moore
Decade 1996-2005 is a compilation of mostly instrumental jazz fusion from bassist Joseph Patrick Moore. It draws tracks from his previous five solo discs: Never Never Land (1996), Soul Cloud (2000), Alone Together (2002), Drumb and Bass Society, Vol. 1 (2004), and Live in '05 (2005). It is a good single-disc introduction to Joseph Patrick Moore's work.
Joseph Patrick Moore
Joseph Patrick Moore has been playing bass in and around Atlanta, Georgia for over a decade. Decade, released on his own Blue Canoe Records, captures some of the highlights of that work in a single disc. Weighing in at almost eighty minutes (79:56, to be exact), there's a lot here to digest. The nineteen tracks stick close to the fusion/contemporary jazz genre. There's some fine playing here, both from Moore and from the many guest musicians (most notably, bassist Adam Nitti) who grace the disc.
"Decade" start off the disc solidly in the smooth jazz veign, with Moore providing solid bass work on fretted and fretless, many of which are layered together to build up the track. His melodic and slap skills are clear on the catchy title track. Moore plays all the instruments on this one--a track created specifically for the collection. Bass predominates here, flanked with drums, keys, and a touch of guitar. Fans of Marcus Miller will note his influence here (as fans of Victor Wooten will note it on "SoulCloud.") "Decade" is followed by "In an Instant," which backs off the tempo a bit and proceeds in a more traditional direction. Here piano, fretless bass, and jazz guitar predominate. Moore tastefully doubles the piano melody toward the end of the composition. Trad jazzers will also enjoy "Brave Up."
Harder-edged, Herbie Handcock-style jazz-funk is the focus of "Datz It" which, in addition to Moore's contribution, features some great electric guitar work by Jimmy Herring, who, given free reign here, really stretches out and makes the most of it. A similar sound can be found on "Ashes to Ashes," and several other tracks delve into various funk styles, including "Jamband Express," "Gypsy Moon Father Son (Live)," and the brief but interesting "Pause #1 (dedicated to Miles Davis)."
But there's more to Moore than funk and smooth jazz. He also indulges in compositions with a more clearly classical influence, including "Waterfall" and, most notably the final track, "Qui es-tu Marie Jeanne?" Here we are treated to some of Moore's work on the upright, both pizzicato and with the bow. The liner notes don't list the specific instrumentation for this track, but what we hear are layers of bass, cello (or upper-register upright playing) and a touch of what might be electric bass as well. It's not an original composition, but the arrangement is nice and it brings the collection to a close with a note of seriousness. In fact, it is one of the highlights of the disc.
The quality of the tracks in the middle is harder to assess. We witness a variety of sounds, from quieter tracks like "Fall (live)" and "Chief Dagga (live)," which are pleasant enough but are less memorable. And, in some case of "Chief Dagga," marred by some self-indulgent electronic wind instrument and keyboard foryas. Bassists will likely enjoy the sparring by Moore and Adam Nitti on "Herbie." But the more world-music influenced "Rain Dance" seems out of place here. Fans of the Police will probably enjoy the inventive (bass-only) cover of "Masoko Tanga." But the straight cover--with vocals, even--of Men at Work's "Down Under" leaves me scratching my head. It's also a bit disappointing that the liner notes don't specify which tracks come from which of his previous discs, leaving those who might want to check out more of his playing uncertain where to turn.
All in all, though, Moore's collection is worth checking out. If you have heard of his work but can't commit to one disc, this is a thorough sampler. There's enough variety here that you're sure to find something you like. Moore's playing and his tone are sophisticated and often beautiful. The production quality of the entire effort is high.
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4 - Good
4 - Good
Where to get it:
Record Label Link:
Blue Canoe Records