Joseph Patrick Moore: Feature Interview [Archive]

TalkBass

03-23-2004, 05:02 PM

Joseph
Patrick Moore 
Interview
by <a href="mailto:jasonjbundy@hotmail.com">Jason J. Bundy </a>
<img src="../images/jpm1.jpg" width="251" height="180" align="left">Intelligent,
knowledgeable, and multi-talented, Joseph Patrick Moore is an accomplished
bass solo artist, studio musician and band member. These are but a few
of the apparent qualities to describe one of the up and coming talents
taking the bass into the 21st century. 
J.J.B.:
Before learning to play the bass you first learned to play alto saxophone,
then drums and then bass. How has learning different instruments shaped
your bass playing? 
J.P.M.:
Let me answer this question in three part's: First, the most obvious would
be the saxophone harmonically and the drums rhythmically. Second, I would
say that it helped me to learn how to adapt in a musical and social situation.
I'm a product of music education. I played saxophone from fourth grade
through tenth, the drums throughout high school and I started playing
the bass in my junior year. During these years I had to learn to read
music, learn to follow a conductor, learn to play in unison or within
a section, perform in an ensemble, learn to listen, you know...the fundamental's.
Of course all of this carries over to the bass as well. Third, the type
of instrument really shouldn't matter. The instrument is just an extension
of an idea or musical thought. Music is a universal language and the instrument
is just a way to express those ideas, a tool in which to communicate.
For me the bass is that instrument. I believe it took playing the sax
and drums to fully understand and appreciate that. So looking back at
it, the saxophone and drums were very fundamental in my development. 
J.J.B.:
What challenges do you face when switching from a fretless 4 string to
a fretted 5 string and then to upright? 
<img src="../images/jpm2.jpg" width="186" height="280" align="left">J.P.M.:
It's a mindset. When I play upright bass I sometimes tend to attack the
instrument. I approach the instrument more aggressively, really pulling
the strings and diggin' in. I try to get the sound from my hands rather
than relying on electronics. The upright is more of a physical and demanding
instrument, less forgiving if you will. When I switch to the electric
bass, I try to have a more relaxed approach, the strings are closer to
the fingerboard and I rely more on the electronics and pickups to do the
work. Lately, I am learning to relax more on the upright, especially as
I get older and my hands are becoming a bit more sensitive with age. I
just recently started using a Zeta Fusion Upright Bass (which I endorse).
It allows me to relax, while retaining that upright sound. It responds
well and there are less dead spots than on my true upright. When switching
from bass to bass, my biggest challenge is to maintain a since of relaxed
intensity in my playing. 
J.J.B.:
Who inspired you to learn the electric bass? Upright? 
J.P.M.:
I studied the electric and then upright from bass guru Rusty Holloway
in Knoxville, TN. Most of the fundamental's that I learned on the instrument,
I owe to him. When I moved to Memphis, I studied with Scott Reed and Tim
Goodwin. Those three cat's helped to inspire me. Donald Brown, Jerry Coker,
as well as other teacher's, friend's, musician's, artist's that I came
in contact with also played a big role. 
J.J.B.:
What types of music or artists do you derive inspiration from? 
J.P.M.:
At the top of the list is Miles Davis! He is the one cat who constantly
challenged himself as well as his audience. His music constantly evolved
and he was always pushing the envelope. He had longevity and to me that
is what it's all about. In terms of Bassist's, there are just so many
that I can't even begin to name all of them but a few are Paul Chambers,
Ray Brown, Ron Carter, James Jamerson, Jaco, Stanley, Marcus Miller, mmm...the
list continues. I listen to so many people other than just bass player's,
that inspiration is really never ending. Honestly, you know it doesn't
even have to be a musical artist to inspire me. It can be a thought, a
theme, a movement, a word, a painting, whatever. I usually don't have
problems staying inspired, for me it's about focusing my energy and doing
the right thing. 
J.J.B.:
How has promoting yourself and your music via the internet helped your
career as a bass player? 
<img src="../images/jpm5string.gif" width="178" height="138" align="left">J.P.M.:
For me, the internet has helped in areas of distribution and advertising
more than anything else. I am able to share my music with anyone who stumbles
upon its page's. That's a powerful tool! The internet is one of the most
amazing inventions/creations that we have ever seen. I believe we can't
even quite comprehend the magnitude of what's going down right now. It's
moving so fast, it's hard to keep up. Gil Scott Heron said, "The Revolution
will not be Televised". He was right! The revolution has been computerized!
It has brought a new meaning to "power to the people". It has opened the
floodgates of opportunity for people around the globe. However, I actually
hate the idea of promoting. I don't feel comfortable with it to tell you
the truth, probably never will. When it comes to promoting, I just try
to stay true to my life, myself and my music. We live in a society that
demands hype over substance, full of tricks and gimmicks. Just look at
the recent Republican Convention. It was a carefully scripted, well produced
Hollywood movie... a total scam! All that I want to do is try to evolve
as a human being and artist, using the internet to share common interests
with like minded folks. Ultimately, the internet has helped my career
in that regard. 
J.J.B.:
What is your practice regimen like? 
J.P.M.:
My practice regimen is always evolving. Right now for where I am at, my
main focus is learning tunes, melodies, transcribing, etc. Whether your
a jazz, classical, or rock musician, you have to have repertoire! Of course
it also helps in composing your own music too, because you have a well
of ideas and inspiration to draw from. I'm really trying to focus on those
objectives at this point in my practice life. Sometimes I will stumble
on an idea or will isolate a lick or pattern and really try to get inside
that. All in all, it's about creating melodies, tension/release and phrasing!
That's what I'm really trying to get inside of now. 
J.J.B.:
On your solo recordings, do you have the different instrument parts prearranged
or do you work on the arrangements in a band context? 
J.P.M.:
A little of both. I always try to keep the element of improvisation in
my music as much as possible. I like the magic that can sometimes occur.
However, I don't like to waste time, especially in a studio situation.
I try to take out as much of the guess work as possible. I'll usually
have the overall form prearranged, filling in the beginning and end of
the tune, while leaving the middle section or development section truly
that... When I hire someone, especially in a studio environment, I try
to give them freedom so that there voice can shine through and that it
doesn't end up being over produced. It's ultimately about a "Controlled
Freedom". Learning how to work within parameters or within a given box
and style. 
J.J.B.:
What limitations do you experience in being a solo artist and as a team
player in your band, Art of Living Ensemble? 
J.P.M.:
The last two records, the focus was more on composition. I made a conscience
effort to try to write a nice melody and set of changes than some whacked
out bass attack/extravaganza. The focus wasn't always on the bass solo,
it was about being a team player and playing a supporting role, letting
other instruments take the lead or spotlight when necessary. Sometimes
I hate bass solos if the intention is wrong or if it's predictable (Head,
horn solo, piano solo, bass solo, drums, head out = predictable/boring).
I have been able to stay alive in this business because I understand that.
Do you want space or simplicity? I can give that to you. Do you want something
a little more busy or fusionisque? I can supply that as well. To me it's
about the tune and what the melody dictates, not the ego! However, right
now in A.O.L.E., the focus is more on the bass. It is about balance, I
guess that's the true Libra in me, an acrobat if you will... 
J.J.B.:
What can we expect from your new solo release, Soulcloud? 
J.P.M.:
Looking back on my first recording (Never Never Land), I felt as though
I over produced it in many ways (one of my many lessons). I also did a
lot of midi programming and I really wanted to avoid both of these issues
more than anything on Soulcloud. Soulcloud is a little looser, has more
of a live feel, a more cohesive flow from beginning to end both stylistically
and playing wise than my first recording. I made most of this record while
working with Col. Bruce Hampton. Of course some of that rubbed off on
those session's. It's a little reminiscent of the Fiji Mariners period,
but with more of the focus on horns. There are some good moments in terms
of the musicianship. Jimmy Herring plays guitar on most of it. He is truly
an amazing artist! I was very honored to have had the opportunity to work
with him and was very grateful to him as well as other featured guest's
and friend's that appeared on this project. I always like to have an element
of excitement and surprise in my music. It has to have a possibility of
collapse and failure. Sometimes it works and sometimes it doesn't. But
there in-lies the beauty... I like to take chances, you know. You can't
steal second base, while leaving your foot on first. Life is full of choices
and risk, and I think music should reflect that as well. Unfortunately
for me, because of this, record labels and some radio station's can't
always find the appropriate audience to target my music to. It's not some
nice fluffed out smooth jazz nor is it traditional straight-ahead. It
doesn't necessarily easily fit into anyone box or genre. I guess Soulcloud
is a little mixture of both with elements of jam based moments in between.

J.J.B.:
You have had experience working in theater, any plans to revisit that
environment or style of playing? 
J.P.M.:
Theater in terms of play's, Broadway show's, pit/orchestra musician? If
that's what you mean, the answer is no. To me it's just that, work! I
respect people who do that. It takes a strong discipline and focus to
do that night after night, but I'm just not interested in that. I did
some of that while living in Memphis, primarily because I had to pay the
rent and I could read. As a working musician you don't always have the
luxury of that "choice gig". Sometimes you have to take whatever you can
in order to survive and stay active playing.