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Author: Subject: Jaco Pastorius

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  posted on 10/9/2008 at 03:17 PM
a good video

http://www.youtube.com/watch?v=nQDfMqLlFPU

 
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  posted on 10/9/2008 at 04:31 PM
That's a bad man....

Until I got into Jaco, I didn't really understand Oteil. Any Oteil fans who haven't gotten into Jaco Pastorius are really missing out. I recommend the Jaco box set that came out last year, as well as the Weather Report box set. They were both very educational.

One of the greatest players of all time, on any instrument, period!

[Edited on 10/9/2008 by RobJohnson]

 
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  posted on 10/9/2008 at 04:49 PM
I was lucky enough to see Jaco with Weather Report in the 70s
One badass bass player who met a tragic end!

Note: This is Pat Metheny's liner notes to the 2000 reissue of Jaco's debut album, "Jaco Pastorius", a piece we feel captures what Jaco and his music is all about.
quote:
jaco pastorius may well have been the last jazz musician of the 20th century to have made a major impact on the musical world at large. everywhere you go,sometimes it seems like a dozen times a day, in the most unlikely places you hear jaco's sound; from the latest tv commercial to bass players of all stripes copping his licks on recordings of all styles, from news broadcasts to famous rock and roll bands, from hip hop samples to personal tribute records, you hear the echoes of that unmistakable sound everywhere. (it may even be more imitated at this point than the previously most pervasive jazz sound to escape into the broader culture beyond the local borders of jazz, the moody harmon mute stylings of miles davis). for all the caterwauling that has gone on about new musicians that have shown up in recent years being toted as the "next miles", or the "duke ellington of their generation", or whatever, jaco outranks all of them and all of that by being the one and the only of his kind, without predecessor; the only post 1970 jazz musician known on a first name basis with all music fans of all varieties everywhere in the world. from the depths of africa where he is revered in almost god-like status to the halls of most every music university on the planet. to this day, and maybe more than ever, he remains the one and the only JACO.

and how odd it is to see this era of historical revisionism in jazz how this accomplishment is often relegated by people who should know better as being "not jazz" or as "fusion" (possibly the single most ignorant and damaging term ever invented to describe (discount) an important and vital branch of the jazz music tree). jaco at his best, as on this record, defines what the word jazz really means. jaco used his own experiences filtered through an almost unbelievable originality informed by a musicianship as audacious as it was expansive, to manifest into sound through improvisation a musical reality that illuminated his individuality. and besides all that, he simply played his ass off - in a way that was totally unprecedented on his instrument, or on ANY instrument for that matter.

because jaco's thing has been so fully assimilated into the culture and the musical vocabulary of our time, i notice that it is difficult for people who weren't around at the time of his emergence to fully weigh the impact of his contribution. as a young musician who met jaco in his prime when we were both just starting out, i can only say that my reaction upon hearing him for the first time (with ira sullivan in miami, florida in 1972) was simply one of shock - i had literally never heard anything remotely like it, nor had anyone else around at the time. and yes, as is so often noted in his case, the way he was playing was unprecedented in technical terms, but that wasn't what made it so stunningly appealing to me. there was a humanity to jaco's thing, built into those relentless grooves was that rare quality that only the most advanced jazz musicians seem to be able to conjure up - with jaco, you were hearing the sound of a time, of an entire generation at work, on the move.

our musical relationship was immediate. we recognized in each other a kind of impatience with the status quo of our respective instruments and jazz in general and found an instantaneous rapport from the first notes we played together. we also became really good friends. during the short time that i lived in miami (near jaco's hometown of ft. lauderdale), we played show gigs together and occasionally played at his house (he was living on top of a laundromat at the time) and spent a lot of time just talking about music, much of it about how intensely we both disliked the so-called jazz/rock of the time. ( how ironic that we are both now associated (inaccurately) with that movement). shortly after we met, i wound up moving to boston to join gary burton's quartet. during this period, jaco and i spent time working together in new york with pianist paul bley and began a trio that lasted for several years with drummer bob moses (that group later went on to record what became my first record "bright size life".)

in the middle of this period jaco recorded this album. when jaco got word that herbie hancock (a major hero of both of ours) had agreed to participate, i think his already inspired vision of what he could be as a musician and what he could do with this record in particular went to a whole other level. listening again to this record, and the way that he and herbie hook up on the original and the alternate takes of "used to be a cha-cha" we are hearing improvised music at it's highest level - but with a difference. jaco restructured the function of the bass in music in a way that has affected the outcome of countless musical projects to follow in his wake - an innovation that is still being absorbed by rhythm section players to this day - he showed the world that there was an entirely different way to think of the bass function, and what it meant. for this alone, jaco would earn a major place in the pantheon of jazz history. but, of course, there was so much more.

his solo on 'donna lee', beyond being astounding for just the fact that it was played with a hornlike phrasing that was previously unknown to the bass guitar is even more notable for being one of the freshest looks at how to play on a well traveled set of chord changes in recent jazz history - not to mention that it's just about the hippest start to a debut album in the history of recorded music. that solo, along with his best compositions like "continuum" reveal a melodic ingenuity (that rarest and hardest to quantify of musical qualities amongst improvisors) that comes along only a few times in each generation. and then there is just his basic relationship to sound and touch; refined to a degree that some would have thought impossible on an "electric" instrument.

jaco's legacy has had a rough go of it - a horribly inaccurate, botched biography, endless cassette bootlegs of late-life gigs that do nothing but devalue the importance of his message through greed and overkill, and a mythology that seems to thrive on the stories that surrounded the lesser aspects of his lifestyle over the triumphs of his early musical vision and wisdom.

but you know what? you put this record on, and none of that matters. it is all here, in the grooves; everything you need to know about the guy. jaco pastorius was one of the most important musicians of our time - the fact that this was his first record is simply astonishing, there is no other way to put it. that this is without question the most auspicious debut album of the past quarter century is inarguable. as with all great recordings, the force of it's value becomes more evident as time passes.

 

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  posted on 10/9/2008 at 05:36 PM
quote:
I was lucky enough to see Jaco with Weather Report in the 70s
One badass bass player who met a tragic end!
Me too - he was amazing! Being a big Joni Mitchell fan I really love the work he did with her and I love his collaberations with Pat Metheny and Al Di Meola (as well as Weather Report ). It's amazing the superb body of work he put out in such a short period of time and just sad and freaky that he left the way he did.

[Edited on 10/9/2008 by lolasdeb]

 

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  posted on 10/9/2008 at 05:51 PM
http://www.youtube.com/watch?v=lwhkPSEXs1Q&feature=related This my friends is THE SH!T!!!. another great one taken too early by addiction.
 

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  posted on 10/9/2008 at 06:29 PM
quote:
another great one taken too early by addiction.

He did not die from addiction...He was beaten to death!

From Wikipedia:
quote:
In his 30s, Pastorius suffered from mental illness and substance abuse, and was diagnosed with bipolar disorder in 1985. He died in 1987 from a physical beating sustained from a doorman while trying to gain entry into the Midnight Club in Fort Lauderdale at age 35.

 

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  posted on 10/9/2008 at 06:37 PM
quote:
quote:
another great one taken too early by addiction.

He did not die from addiction...He was beaten to death!

From Wikipedia:
quote:
In his 30s, Pastorius suffered from mental illness and substance abuse, and was diagnosed with bipolar disorder in 1985. He died in 1987 from a physical beating sustained from a doorman while trying to gain entry into the Midnight Club in Fort Lauderdale at age 35.
Did you read this? he was loaded at the time [alcoholic] which caused him to act irrational causing him to get himself beaten to death. id say thats a consequence of addiction. shortly before that he jumped onstage at a santana concert, and tried to rip the bass out of [Alphonzo Johnsons']hands.

 

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  posted on 10/9/2008 at 09:16 PM
I'm a bass player and its hard to fully articulate Jaco's influence on bass playing when he first came on the scene. There were tremendous bass players before him like James Jamerson, Jack Bruce, John Entwistle, Berrry Oakley, Chuck Rainey and other greats, but Jaco completely changed the game. In 2008, it may be difficult to understand his impact, much the same way some may not immediately grasp how Charlie Parker changed saxaphone playing and improvisation in general. Both have been copied so much its easy to forget musicians didn't play like that on those instruments before them. They're true innovators.

[Edited on 10/10/2008 by BWood]

 

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  posted on 10/9/2008 at 10:24 PM
Love Jaco with Weather Report

I believe his twin sons are in a band these days.

[Edited on 10/10/2008 by curry]

 

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  posted on 10/10/2008 at 09:15 AM
Jaco was totally amazing. I loved Weather Report's music from the get-go, but it leaped to a whole new level with him. Some mentioned Bird, I'll throw in Trane - Jaco was on that level - like he dropped in from another planet and that's meant as a compliment.

Unfortunately, like his father, he was the sweetest person in the universe unless he touched substances and then he would go off the deep end. His death was totally unnecessary and a huge loss. Definitely the greatest jazz/fusion/whatever bassist ever.

 

Zen Peach



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  posted on 10/10/2008 at 10:23 AM
One of my all time favorite tunes

http://www.youtube.com/watch?v=wDQlSSOXU6A&feature=related

 

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If we practice and eye for an eye and a tooth for a tooth, soon the whole world will be blind and toothless. -Mahatma Gandhi.

 
 


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