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There is a certain bravery in presenting snapshots of yourself over the course of a decade, as bassist Joseph Patrick Moore does on this appropriately titled compilation. Including a generous nineteen tracks, Decade features Moore in a variety of settings backed by a diverse group of musicians. As expected, his bass work is the focus here, driving the songs and providing a sense of continuity, despite the changing lineups.
Most importantly, Decade fulfills the task of presenting an overview of Moore's five previous albums by featuring the standout tracks from each one. The music itself is sleek and never less than professional. Moore also reveals his taste for unique covers by including his takes on Men At Work's "Down Under and the Police's "Masoko Tanga. The former piece features sweet vocals from Temple Passmore and is surprisingly faithful to the original.
The latter piece is something else entirely, featuring only Moore's overdubbed bass. It comes from Moore's 2002 all-bass album Alone Together, far and away his most unique and involving release ("Waterfall, from the same disc, also appears here and is an even more impressive showcase). Moore's solo bass tracks reveal the extent of his virtuosity without ever sounding self-indulgent. They stretch his skills and imagination in way that his work with a full band can't always match. I wish that more material from Alone Together could have been included here.
That said, Decade is a good overview of what Moore's been up to for the past ten years, providing interested newcomers a useful survey of his work.
Track Listing: Decade; In An Instant; Groovemessenger (The Story of Jazztronica); Datz It; Down Under; Mystery; Soulcloud; Brave Up; Masoko Tanga; Chief Dagga; Herbie; Ashes to Ashes; Fall; Jamband Express; Waterfall; Gypsy Moon Father Sun; Rain Dance; Pause #1 (Dedicated To Miles Davis); Qui Es-Tu Marie Jeanne?
Personnel: Joseph Patrick Moore: double, electric, fretless basses; featuring Jon Chalden: drums; Jimmy Herring: guitar; Bill Anschell: piano; Yonrico Scott: drums; Alvie Givhan: piano; Bo Harris: drums; Count M'Butu: percussion; Scott Thompson: trumpet; Jim Spake: tenor and soprano saxophone; Gerrard Harris: guitar; Brent Cundall: guitar; El Buho: flugelhorn; Adam Nitti: bass; Renardo Ward: drums; Colin Butler: turntable; Kenneth Lovell: flute; Larry Blewitt: drums; Vance Thompson: trumpet; Al Mcspadden: ewi; Temple Passmore: vocals; David Freeman: tenor and soprano saxophone; Bryan Lopes: tenor saxophone; Emrah Kotan: percussion; RKF: soundeffects; Stan Cherednik: alto saxophone; Buzz Amato: keys; Kirsten Shippert: vocals; Bob Marbach: B3 Organ; Tim Ussery: mandolin; Ben Taylor: drums; Al Smith: keys; Jeff Snipe: drums
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.