Jaco with Joni Question:
Do you miss Jaco Pastorius on your recording sessions?
Joni Mitchell:
Jaco was doing something I was dreaming of at the time that I came to work with
him. I kept asking bass players to do certain things and they'd say "the bass
doesn't do that." Then I'd say "why?" And they'd say "because it doesn't!" It
seemed, in my field at that time--you have to understand that I started in this
much music, the voice and the guitar.
There is much more music below it, and much music above it, symphonically speaking. So just myself and the guitar, we made about this much of the spectrum. So I began to add up.
I started by adding up because I could do it myself, stacking vocal harmonies, beginning to see how harmony working moving upward, then stacking down within the limitations of my voice and my instrument. I needed help, so then I began to say to the bass player and the drummer, "what if you did this?" "Oh no, it doesn't do that."
They were very stubborn. Sonically, they were very stubborn. There were things that were hip and they wouldn't budge from them. They would not be "un-hip" because hip is like a herd mentality. So finally what I wanted the bass to do was more like symphonic music. Why did it have to just stay and poke a dot all along like fence posts? Why couldn't it lift up and play counter-melody in the middle and then come back down? OK, it's not like it has to drop out, just seem to drop out, just go into the mid-range so that the bottom gets some relief.
Nobody would do it. Then the beginning of synthesizers that you didn't have to be a jet pilot to operate began to appear and there was one in the hall that someone had rented and it was waiting to be picked up. I dragged it into the studio and put my own bass line on and said, "OK," to the bass player, "play this." And he said he wouldn't play it--it was wrong, he said.
Then somebody finally said to me, you know,
there is a kid that plays in Miami--he plays with Phyllis Diller and Bob Hope.
He's really weird, you'd probably like him! So I sent for Jaco and he was doing
everything that I wanted a bass player to do.
Subj: Joni
I was a little put off by Joni's narcissistic comments....as if she was "hearing"
and "thinking" Jaco before she knew of him? Come on! And I love Joni! But really!
So she "sent for him" (like a queen clapping her hands together)? Please!
Subj: Defector from the Petty Wars
I'll break my self-imposed exile to say that the absolutely essential Mitchell/Pastorius
collaboration, and the one it would be easiest to make this case for, is HEJIRA.
Whether it surpasses his solo and Weather Report work, I'll leave to the discretion
of the listener, but the interplay between his bass and Mitchell's guitar/vocals
leads to some of his most nuanced and dynamic playing. It's a very intimate
recording that belongs on anyone's Jaco "short list."
Subj: Re: Mingus
I don't know that Mingus was a Joni Mitchell 'fan', but Joni explained in an
interview that Mingus approached her first, to tell her she had 'balls' for
doing what she did on the "Don Juan's..." album. Joni recorded the song "Paprika
Plains" with two different pianos, separate sections that were later spliced
together. The two pianos were very slightly out of tune with each other. Mingus,
having perfect pitch, noticed immediately and called her on it. This started
Joni's special interest in Mingus' music and life, and her conceptual ideas
for writing lyrics to several Mingus songs, with his blessings. Joni got to
know Mingus a little near the end of his life.
Regarding Jaco, Mingus was strongly opposed
to Joni using Jaco (or any electric instruments) on her planned "Mingus" project.
Joni did record several tracks for "Mingus" that were never released, including
tracks with Eddie Gomez and Stanley Clarke on acoustic bass. She explained in
the liner notes: "I was trying to please Charlie and still be true to myself."
She ended up using Jaco. She felt Mingus' objections were based on his hatred
of the loud volume of electric instruments. But Jaco had not only the complete
dynamic control, but a real sensitivity and expressiveness that perhaps Mingus
didn't know existed on an electric bass guitar.
Subj: Re-mastered
1997
You may already know this but the entire Warner/Asylum Joni catalog has been
remastered and beginning to find its way to stores. This includes all the CDs
Jaco was on. Shadows and Light is back as a double CD with the 2 missing songs
restored. Art work has been restored as well. All the titles are still budget
priced.
Subj: Re: Re-mastered
It's a real scam the record companies have done by issuing all their "old" albums
on CD, then returning back, remaster them, then re-issue them. No incentive
to do it right the first time because they make more money this way. I just
hate it when they screw with the actual recording (which I guess is more re-mixing
then remastering, but it happens).
1978 Interview
Way back in 1978, Clive Williamson, then a BBC radio journalist, found himself
interviewing Jaco Pastorius for a jazz programme. At the time, Jaco was touring
the UK with Weather Report...With Jaco at the height of his powers as a genius
bass-playing musician, this transcript provides a fascinating insight into his
musical achievements. Two decades ago, not much was known about the fantastic
sound that Pastorius used with arrogant ease, and Clive Williamson was eager
to get to the bottom of the 'mystery', as you'll discover. Read on, and enjoy
a rare interview with the master at his talkative best.
___________________________________________________
Some music--really extraordinary music--has the ability to give you real goose-bumps
when you listen. It can be the composition, the arrangement, or the playing
that triggers the sensation, but it's a pretty rare experience. Jaco Pastorius
was one of the few bass guitarists I've encountered whose playing could give
me that sensation. Now, of course, he is gone, but despite a relatively brief
recording career from 1974 -1986, Jaco left a huge body of work for us to enjoy
and remember him by. From his first recordings with Pat Metheny, as well as
superb playing and writing with Weather Report, through to his breath-taking
solo work and thoughtful contributions as a session player, Jaco Pastorius's
musicianship and spirit live on. As a freelance radio journalist, I was lucky
enough to interview Jaco in October 1978, when Weather Report arrived in London
to play at the Hammersmith Odeon, and to publicize their latest album, Mr. Gone.
Naturally enough, there was no hint of what was to come... Jaco was vibrant,
alert, witty and charming to meet, and, characteristically, in no doubt as to
his own talents! Outwardly, at least...
In an attempt to find out how he achieved his unique sound, I first asked him
to describe his bass set-up:
Do you get that incredible singing bass sound
on an ordinary guitar, or are there some special effects that you use?
I don't use anything special... I've actually got less on it! I have a fretless
bass, so it's virtually like I'm playing a wood bass. In other words, the strings
go into the wood on the neck and then--being that it's a bass guitar --it gets
that bright, direct sound. So I'm the first guy to be using a fretless, is actually
what it boils down to, and then more, because I'm the first to really get down
and play it, because other guys cannot play it in tune, y'know? I've been playing
the bass guitar for almost 12 years, and I've been playing fretless for about
nine, so I've got quite a bit of mileage in my hands already. I play in tune
like a cello player, and use legitimate vibrato. There are no tricks... it's
just all in the hands! I just have a standard 1962--I think it is--Fender Jazz
bass, that I took the frets out of.
What amplifier do you use with that?
In the studio I don't use an amp, I just go direct, right into the desk. It's
virtually acoustic is what I'm doing, you see? And then on stage I use an old
Acoustic 360--two of those amps, actually--and you get into all sorts of fun!
It's a whole different thing on stage... (laughs) Are you comin' to the show
tonight? (smiles) You should really come along, because it's some other stuff
completely (laughs). This is some real fun!
I first heard your very distinctive sound on Joni Mitchell's Hejira and Don
Juan albums. How did you become involved in those recordings?
Joni told me that a guitar player named Robben Ford--who was playing with her--they
were touring when my solo record had come out, and he played her the album and
she was knocked out! She just tried to get a hold of me, and that was it, really.
I just went and played! I didn't even know anything about Joni Mitchell. I hadn't
even heard her music. In fact I hadn't heard any of Weather Report's music before
I joined the group. You know, I'm a father, my daughter's almost eight, and
from when she was born, I've had no time to listen to music, so I don't know
that much about what's going on. I knew Miles Davis' music and Coltrane, and
James Brown and the Beatles. I know that stuff dead, Frank Sinatra's too; that
was what I was listening to, but once my kids were born I was working around
the clock, didn't have time to listen to music. Also, music started changing
and I didn't like where it was going for a while. It really needed some direction,
but now it's got Weather Report! (laughs) So I didn't know [Joni's] music, but
it was really fun coming in from nowhere, and adding this thing! It was a nice
combination, especially on the Hejira album. The cut 'Hejira', itself, I really
like. I think that was the first thing I played with her. There used to be a
lot of contractual difficulties when artists from a different record company
played on albums like that.
Is there any easing off on that position now?
I have no idea; I'm a baby at this. I've only been on records for two and a
half years now, though it seems like I've been on records for much longer, because
of my force (laughs). No, I don't know, man. I'm not going to worry about anything
like that. I just play it, I don't even think about it. I have no record contract,
so it doesn't matter. I just do whatever I want!
It was after Black Market that you joined Weather Report. What were the circumstances
surrounding your recruitment to the band?
I had met (WR founder) Joe Zawinul a couple of years prior, when I was teaching
at the University of Miami. I was writing for their Big Band and there was a
Weather Report concert, and the University of Miami Big Band was the opening
act. I played a couple of tunes with the band. Weather Report was late, and
Zawinul didn't hear me, their plane was late, but I came back later to get my
equipment backstage, and, as I was leaving, I walked round the corner and literally
bumped heads almost. He was being interviewed, and one said to him, 'Hey, this
is Jaco; this is the cat! You gotta hear this guy! This is the best bass player
in the world!' Zawinul's like, 'Oh yeah?' you know? And he just said 'How can
I hear what you do?' I had a cassette I'd made with a couple of friends, and
my brother and I went down to the Holiday Inn on Miami beach the next day and
played it for him, and he said he would hook up with me in the future. Then,
during the Black Market album, which by that time was completely done, he got
hold of me to play this tune, 'Cannonball', which didn't have the right feel
that he wanted. I don't know for sure because we never talked about it, but
because Cannonball was from Florida, and I'm from Florida, he said he'd wanted
that Florida feel on this tune, and liked the way that I played the 'singing'
type sound. So I came and played that one tune and then he asked me to join
the band. He asked me if I'd like to go on tour, and I said 'Yeah,' like, give
it a try, what the heck? But this was after I'd already done my solo album,
and I was waiting for it to come out. It was always getting postponed because
it was really pretty untogether, but then I joined Weather Report.
(Jaco's Solo Album .... From those first singing, fretless bass notes at the
beginning of 'Cannonball', I was aware that something different had happened
to Weather Report. Here was Jaco, intelligently and articulately filling out
the bottom end of their music, but giving it a chance to breathe, and easily
providing the drive where it was needed. He seemed to be just as happy playing
the lead line on the bass, too! Hearing 'Cannonball' and then Heavy Weather,
encouraged me to find out more about Jaco, but at the time of the interview
I hadn't been able to track down his much-acclaimed solo album. I asked him
to tell me about it.)
Yeah, it was... a great album! (laughs) It didn't get promoted, and that's all
I'll really tell you about it. That was a real drag 'cause it was really a good
album. That was the first time I'd really been on a record, you know; so not
a bad album for a debut recording, let alone as a leader! I hadn't even been
a sideman on an album before that. Like I said earlier, I joined Weather Report
after that album was already done. It was just a good experience--it was fun!
(I had to admit to not having heard Jaco's album at that point, due to its then
non-availability in the UK. Jaco was keen that I should hear it!)
Oh, you gotta check it out! You got to! Listen to the first tune, the first
cut on the album, and you're dead," he shouts. "You will not believe it! This
is my claim to fame, I play 'Donna Lee'--y'know? Charlie Parker's 'Donna Lee'--just
bass and conga drums (played by Don Alias) and LOOK OUT! You never heard nothin'
like this, just be-ware! (smiles) See, everyone thought it was a piano player
or somethin' doing it, because I'm playing the changes so well! It's never been
done on a bass like this, and it's crazy that most people haven't heard my solo
album. In Europe, in a couple of countries, it was their album of the year,
and it didn't sell but a couple of records. But I know I've got a 'gold cassette'
somewhere! Or I should have," he mocks, "because everybody's making cassette
copies of it, y'know? (smiles). Everybody tells me, 'Hey man, I've got a tape
of your album', which is sort of a drag because it's illegal to do that, to
begin with, and because I receive absolutely no money from people doing that.
(The blank tape manufacturer) Maxell makes all the bread, you know.(laughs)...
So we have to listen to 'Donna Lee', you reckon?
Oh, you should just listen to the whole album! Listen to 'Opus Pocus' and 'Continuum'...
and 'Portrait of Tracy' is a thing with harmonics, if you know what that's about?
I'm playing all this harmonic stuff--and this is the first time it was ever
done--is on this solo album. The whole tune is played using nothing but harmonics,
and only on one bass, but it sounds like five guys! So you gotta check it out!
Oh, by the way, for my solo album I got nominated for two Grammies. 'Best Jazz
Album Of The Year', and 'Best Jazz Soloist', so I got nominated for Best Jazz
Soloist two years in a row for Grammies, and I didn't even know it! But neither
did Epic Records, my record label--the dummies!
Any plans to record another solo album at the moment?
I might start on another soon. I already have the music written for a new album,
but I'm too busy putting all my efforts into Weather Report. We've been working
so much this year alone, it's our world tour but we've already completed the
next Weather Report album, Mr Gone, plus we've played Japan, Australia, Hawaii,
all of Europe; we're having a week off, and then we'll promote the album in
the States for seven weeks straight--I really don't have that much time to do
anything else! At the end of this year, I think we're going to Cuba and then
that will be about it. January we'll have off, so I might start working on something
in January. Heavy Weather was the album that followed your debut with Weather
Report on Black Market. 'Birdland' from that album received a Grammy nomination
for the best instrumental composition of 1977, and the whole LP now seems to
have been very well received and has done very well in countless jazz polls.
How did you approach the recording of Heavy Weather?
This was the first time that I was involved from a producer's standpoint, too.
Joe (Zawinul) produced, I co-produced. I was in there the whole time and was
completely involved. Before that, like with Black Market, I went in like a sideman
who just played and left. I was virtually gonna do the same thing on Heavy Weather,
but Joe hooked up on how good I was working, and he said, 'I want you here for
the whole project, we're gonna do this together.' And we went on to do the same
thing on Mr Gone. Everything else I'd played on (like with Joni) had just been
as a sideman. But I got to get this sound--like on Joni's, was it 'Jericho'?
The tune before or after 'Jericho' I can't remember, er --'Talk To Me', that
sort of a sound. I tell them to get that sort of a sound for my bass from the
desk, and I've got to hope they'll get that out on the record sounding good.
Like in Joni's case, Henry Lewy and her work good together in the studio, and
me and Joe work together: this is our second project together and this only
my second time from a producer's standpoint. But Joe's the leader of the band
and he's got seniority. He's in Los Angeles all the time and I'm in Florida.
I always fly out to him!
It sounds as if you don't see each other very often, except for rehearsals,
gigging and recording?
But that takes up almost all year...!
On 'Teen Town', with its great 'talking' lead line on the bass from you, you're
also playing drums!
It's... TRICKY! I'm a drummer: that was my first instrument when I was a kid,
and I switched to the bass because I broke my arm in an accident. I didn't have
to go to the bass, but I had to stop drums because I had no power left in my
left arm, and from about age 13 to 18, my left arm was pretty useless. I couldn't
push, man; and like, to play the drums, you gotta push. I was playing in a band
on drums--one that I'd started actually--and I got kicked out! But they asked
me back if I was playing bass, so I bought a bass and joined them again! I was
15, I didn't know where the notes were or anything, I just started grooving,
y'know? And I've never been out of work since, with the bass! But yeah, 'Teen
Town' was actually a place I use to go to dance when I was 13, and it was a
church on the Intra-Coastal waterway, in Pompano Beach, Florida. I used to just
wish I could be up there playing drums, that's why I sorta had to play the drums
on this tune--because the drums are talking with the bass, too--because now
I'm a bass player, but I can still play the drums, y'know? It's a lot of fun:
'Teen Town' is like a little theatre thing, yeah? You're a kid and you go to
Teen Town; you're 13 years old; you wanna hang out with some chicks; there are
all sorts of little ego trips going on in there; all that sorta shit is going
on in there. And at the end, it gets a little mysterious, because you start
growing up... It's all in there!" (laughs)
You've continued to play drums on the Mr Gone album.
I play on a couple of cuts. I'm an R&B drummer: that's what I grew up playing.
On the bass, my forte is also playing R&B. Sometimes when a little funk beat
is needed, I'll just lay in a couple. (laughs) I have a tune, 'River People',
and I wanted a certain kind of feel, so I decided to play drums on it. We were
in a transformation period, I broke my right wrist and we had some time off,
and just Joe and I were in the studio. So we did 'River People' that way, building
the tune up on the spot. It was all written out, so all Joe had to do was play
his parts, and I played mine, and it just all gelled together, and I did some
overdubs. In fact, we played the bass parts together 'coz he got this synth
sound --sort of a little twang, almost like a little guitar on the top--with
my bass rolling on the bottom. So we just played to the click track, and I went
back and overdubbed the drums with that, as opposed to 'Teen Town' where I played
the drums first, and overdubbed the bass part afterwards.
Is there anything else you could tell me about 'River People'? ('River People'
featured Jaco on drums, timpani, bass and voice; Wayne Shorter, soprano sax;
Joe Zawinul, keyboards, ARP 2600 and Prophet 5 solo)
'River People' I wrote in the Everglades, where I was bass-fishing four years
ago. It's an older tune, about a day with the river people, like they get their
feet right in the mud there; so the bass part: I sang the bass part (sings and
claps time) 'mm-maa, mm-maa, hmm; mm-maa, mm-maa mm-aa umm', like a lot of people
down in the mud at the river, yeah? And then these chords, the way they come
in, it sounds like the sunrise - bang! - like this incredible light, and then
the whole day passes, and at the end you start roaring, you start having a little
fun, like you kind of party out at the end into this New Orleans feeling, y'know?
I was in the Everglades fishing, but I was feeling a lot like I was in Louisiana
when I wrote the song! It was weird. I had a bit of a composition I'd started
on piano, but I actually got it together when I was fishing out on this boat
with a couple of buddies. All day we were just sitting there goofing off, drinking
beer and fishing and just having fun. Rainstorms, the whole thing--it's a fun
piece of music. Joe takes just the greatest solo at the end, starting off with
this trombone-sounding thing, then goes into this organ thing. I like the song!
(laughs)
Do you have a favorite track on the new album, or is 'River People' it?
Every track is my favorite on this album: the album itself is a track. It's
like a movie, it is very well interweaved I feel, and I like 'em all. Personally
I like 'Punk Jazz' because it's the last piece of music I wrote, and I wrote
it specifically for the album, as opposed to 'River People' that I had four
years ago. It's a satisfaction thing, like 'I came up with the goods', so you
feel like you did your work and it was done specifically for the album... It's
just a really well-orchestrated tune: a lot of work went into it. Musically,
I just really like to listen to the whole album--but I really like 'Mr Gone',
too. (laughs)
There is a bass synthesizer sound on that track, isn't there?
Yeah, that's the Oberheim bass. That's down to Joe: it's really the main sound.
In fact, I don't even play on 'Mr Gone' until much later in the tune. I just
come in as a cushion to the Oberheim bass at the end, it just gives it a little
bit of roundness, you know, coming in with the fretless an octave higher, but
almost the whole tune is Oberheim bass.
(For anyone who ever doubted Jaco's faculties at this stage of his life, check
out his perfect recall of the upcoming itinerary in response to one of my questions--and
this is in the middle of a tour!)
We started touring June the 18th. We landed in Tokyo and we played for about
five weeks--we played all of Japan--Tokyo six nights, alone, because the town
is so big! Then we played a couple of weeks in Australia, Hawaii, then back
to the States for a week and a half's vacation. Joe and I went and mixed the
album, finished Mr Gone, and then we had to go on a European tour right after,
and we first had rehearsals in LA. We hooked up with Peter (Erskine), our new
drummer, just before we went to Japan. He only had one or two rehearsals. Wait
till you hear him, this guy's unbelievable! After arriving in Europe, September
14th was our first date--but we'd been here since the 9th, getting our crew
and equipment together--and up 'til then, we have been doing the mainland. We
just finished the provinces, now we will be doing London, a couple of nights,
Bristol, Birmingham, and then we'll be home again for a week off. Then we're
right back with a seven-week-tour of the United States, so in mid-November,
when you're saying this comes out, I'll probably be in... Columbus, Ohio!
You mentioned the new drummer. What is the current line-up on the tour?
Wayne (Shorter) and Joe (Zawinul) on their respective instruments, myself on
the bass, and Peter Erskine on drums. That's it. We're just playing quartet.
It's pretty dangerous! The album is more or less quartet anyway, so we went
out on the road in the same fashion.
Does Peter play the drums as well as you?
(Laughs) As well as? That means 'also' over here, right? But I know what your
saying. Naa, this guy's got chops like nobody else. I think my right foot is
a little funkier than his--ain't better, just a little funkier! (laughs) Peter
just left Maynard Ferguson's band after two and a half years, plus he was with
Stan Kenton's band before that for three years. He's a 'road rat' already, and
he's only 24 years old! He's been to music school, been playing drums since
he was four; whereas I'm pure street kid, never had a music lesson in my life,
learned everything from my friends, y'know, goofing off, and just constant gigging
in night-clubs all night, eight sets a night, stuff like that. That's where
I did my learning, just putting in a lot of time. Peter, he's put in tons of
time working too, but he's also got incredible schooling, and can really play.
Man, he's played Edgar Varese's 'Ionisation' and stuff; he's just out there.
He can sight-read and all that crap, and he's one of the nicest people you'll
ever meet, so that helps!
A lot of Weather Report's work seems to be constructed from already written
music, rather than improvised--is that detrimental to creativity in any way?
Just the opposite; that's why we're the only band that's working! We can write
music, plus we know how to play it. A lot of the music, people will say, 'That
sounds like it's improvised', and that'll be the written part! Crazy. We do
tons of stretching out in the music, on every tune, but it's on top of a good
form, you know? Like I got this tune, 'Punk Jazz', man, and at the beginning,
look out, because this is some stone jazz, and we come in sounding like a symphony,
but it's just Joe and me playing. It's unbelievable. Then Tony (Williams--session
drummer) comes in, and he's smoking, and Wayne takes one of the all-time classic
soprano saxophone solos. But all that ensemble work is written out and we're
grooving, and whatever talking we're doing is within the framework, so we're
still completely improvising. I was really proud of Joe because he really got
his calligraphy together for this album. (laughs) Usually they just throw you
a piece of paper with a couple of marks on it, y'know, and you gotta work it
out! This was a lot easier to read this time! ...and that's where we left off,
and I went next door to meet Joe Zawinul!
I did see Jaco again, that night at the Hammersmith Odeon, but this time watching
and listening from 'up in the gods'. Frankly, the sound wasn't all that great
up there, but I do remember Jaco's explosive bass solo spot, which certainly
was 'something else'!
Looking back almost 20 years on, there are so many more questions I could have
asked, and lots more I would have liked to have asked, with the benefit of hindsight.
As it is, I'll just have to remember Jaco Pastorius through my favorite recordings.
'Donna Lee' and his own composition 'Portrait of Tracy' still make my jaw drop
when I hear them, and I love 'Jericho' and 'Off Night Backstreet' from Joni
Mitchell's Don Juan's Reckless Daughter, and Jaco's strong contribution to her
jazz-tinged tribute to another giant of the bass, Mingus. On 'The Dry Cleaner
From Des Moines' Jaco adds a powerful stabbing horn arrangement to a bass part
that weaves chuckling statements through the laid-back swing of brushed drums
and gentle percussion. Then the album's closing tune 'Goodbye Pork Pie Hat'
showcases the flip-side of his playing, with endless, voluptuous gliding notes
and chordal pads sounding like a whole orchestra. And I'll never forget him
singing the opening bars of 'River People' to me! Sadly, it's Jaco that's Mr.
Gone, but his marvelous music lives on...
--end--
Select Reading
Here's a couple very interesting articles
from other, less obvious publications.
So next time you're at the library...
Holiday for Pans
Pastorius CDs in Japan bogus, estate alleges.
(jazz
bassist Jaco Pastorius) (Brief Article) Steve McClure.
Billboard, July 10, 1993 v105 n28 p35(1). Elec. Coll.:
A14321915.
Full Text COPYRIGHT BPI Communications 1993
TOKYO--The release of rare recordings featuring the late jazz bassist Jaco Pastorius is creating a rumpus here, with the artist's estate warning the U.S. and European trade not to handle the CDs.
Hirakazu Sasabe, president of Osaka-based record distributor Super Stop Inc., says he has the rights to the material by Pastorius, which dates from the early '80s. Sasabe says that on May 12, 1992, he paid $155,000 in cash to a man named Kenny Jackel for the master tapes. Super Stop's record label, Sound Hills Records, released April 24 10,000 copies of an album culled from the tapes, called "Holiday For Pans." The label plans to export 6,000 more copies. Pastorius' estate now is threatening to sue Sasabe for recovery of the tapes, which it says Jackel stole. Sasabe says he bought the tapes in good faith and had no reason to doubt Jackel's integrity.
The album consists of eight tracks featuring steel "pan" player Othello Molineaux.
The estate says the tracks were recorded in early 1981, while Pastorius was still under contract to Warner Bros. Records, and that he had decided to release them as a Molineaux album with Pastorius and Peter Yianilos as co-producers. Pastorius, the estate claims, did not play any bass on the "Holiday For Pans" tracks. Soon after the tracks were recorded, the estate continues Pastorius was released from his Warner Bros. deal but retained exclusive rights to the tapes. "During the period of confusion and chaos for Jaco, a man named Kenny Jackel ingratiated himself and convinced Jaco to 'store' the 132-inch reels containing the unfinished, unmixed rhythm tracks," says Garland Hogan, a Fort Lauderdale, Fla., attorney representing the estate. According to Hogan, Jackel subsequently had a session player lay "counterfeit" Jaco bass tracks on tape.
Sasabe claims Pastorius, who died in 1987, gave the tracks to Jackel as payment for studio time. He admits Jackel did not show him any documentary proof that he owned the tapes. Jackel, now said to be living in Bangkok, could not be reached for comment. "This is the first time I've encountered this kind of problem in 18 years," says Sasabe, stressing the need for trust in such deals. "It's a very, very rare case."
Sasabe says he checked to see whether there was any record in the United States of the tapes having been stolen and found nothing. Hogan says the estate has agreed with Molineaux and Yianilos to jointly launch legal action in Japan against Super Stop to recover the tapes. Meanwhile, he adds, "we have formally requested that the FBI enforce the criminal copyright laws and seize the records and CDs of "Holiday For Pans" when they arrive in the U.S. We urge all retailers or wholesalers not to buy this illegal product or risk suit from the Estate." Says Sasabe, "If the estate tries to get sales of the album stopped in the U.S., then they'll have to prove their case."
-- End --
Thanks for posting.
I've actually heard this CD- my friend Larry Grenadier turned me on to his copy;
I guess he picked it up in Japan or somewhere. I'd say that with all the aberrant
and exploitative behavior that goes on within the music industry, questions
of ownership of a master, etc, don't really surprise me... even Major labels
practice forms of bootlegging whenever they can get away with it. The recording
in question was potentially Jaco's most ambitious project, easily on the level
of "word of mouth"... the tragedy is that Pastorius never lived to finish it,
and the business heads handling it didn't have the vision (or cash?) to give
the 2-inches a professional mixing job, let alone to contract somebody like
a Zawinul or a Wayne to fill in the blanks as project supervisor or producer-in-absentia...
The CD is a fascinating document, and there's some incredible original compositions
on it, but it's Painful to see how they've released the skeletons of Jaco's
brainchildren, without nurturing the music to a point where it can truly speak
for itself. That's kind of an artist's nightmare, to have your grapes crushed,
savored and sold before they're green... these aren't, like, some Benedetti
live Bird bootlegs in mono, here.. Jaco's production style was unique and unorthodox-
he was using every nook and cranny of the studio to squeeze the juice out of
his tunes, layer by layer.. many of the tracks only have Othello blowing, what
sounds like an (authentic) reference bass track, and a few stray elements of
the background orchestration (i.e. a Dave Taylor Bass trombone track, trumpet,
piccolo, etc..) -and no keys, no drums! That's a pretty wild (and stark) starting
framework. It's a tough call, but if you hear the compositions and the clip
job these cats did in the preparation of the release, it really screams for
somebody with skills and presence of soul to warm to Jaco's spirit and do the
music right. The tapes won't really be happy 'till they get some TLC. I also
wonder if there might not be some scores for these complex pieces kicking about
in Florida somewhere...(!)
If Super Stop had initiated any sort of contact with Jaco's estate (or anybody
from Jaco's intimate musical inner circle) before printing up thousands of copies
of this sensitive material, perhaps we'd be seeing a release that reflected
more of the heart & ambition of his work. Maybe a documentary- with the
(well-mixed) basic tracks, plus additional remixes, with tracking coordinated
by folk ranging from a Willner to a Zorn to a Zawinul... Is that so wacko?
That deal with the record "Holiday for Pans" sounds exceptionally hideous, but
I do believe I heard that this guy had the masters in lew of payment for studio
time. Jaco would do stuff like that. It really is not surprising knowing the
nature of this business, though. He played some of that stuff for me one time,
it was a piece in which he had Othello and a bunch of pan players do an original
tune of his, and he also played me another group version of "Giant Steps." By
the way, Jaco played BASS PAN on these tracks!!! No electric bass. He said it
was a bitch to do, because these pan players don't read, and he had to hum all
these parts out to these guys and by the time he had finished doing the last
part, the other guys had forgotten theirs!! I can just see him dashing about
like a dervish, amidst the din of the pans, screaming obscenities at these guys!!
He said it took him weeks to do. All these may not be included in "Holiday for
Pans" because he said he did these at his house on his four-track.
CD Recommendations
Consider these first:
Jaco Pastorius * (1976 debut) (2000 remaster recommended, with
two extra tracks)
Jaco Pastorius - Word of Mouth *
Jaco Pastorius - The Birthday Concert * Jaco's big band
in Florida 1981
Jaco Pastorius - Twins * Jaco's big band in Japan 1982
.... or: Invitation * the edited single-disc version
of "Twins"
Weather Report - Heavy Weather *
Weather Report - 8:30
Weather Report - Live and Unreleased *
Pat Metheny - Bright Size Life
Joni Mitchell - Hejira (four tracks with Jaco)
* representing Jaco as a composer
then, look for:
the other Weather Report titles: Black Market .... Mr
Gone .... Night Passage .... Weather Report
(1982)
the other Joni Mitchell titles: Don Juan's Reckless Daughter
.... Mingus .... Shadows and Light
'Standards Zone' by Brian Melvin, Jon Davis and Jaco. In my opinion a
brilliant statement made by Jaco proving he's not this freaked out showman
most Jazz-purists believe him to be, but that he can actually play some
really good Jazz! This collection of well known and not so well-known
Jazz standards is played flawlessly.
I think the most important aspect about this album is the fact that this is,
to my knowledge, the only purely jazz-oriented album Jaco played on (not
that I have the one and only definition of 'real Jazz' though!). Apart from
that, his sound may be different (a fretted bass, and not one of his legendary
old jazz basses) but his playing is really coherent, he keeps it's act together
which results in some stunning solos!
~~~~~~~~~~~~~~~~~~~~
I've been saying this same thing ever since I found brian melvins release Standards
Zone so many years ago, and I find it amusing that so many so called 'jaco'
fans are either not aware of it, or dismiss it for whatever reasons, or are
just not as excited about it as I feel they should be. I feel this was recording
was probably the last one where he sounded like he was mentally and physically
feeling very very well. You can hear it in his playing.
If you've never listened to Jaco's music/bass playing before, please don't
start with bootlegs. Ok?
I like the "different" recordings, where you won't hear the same song
titles on any other recording: Pat Metheny, Al Mangelsdorf, Ian Hunter, Paul
Bley. Very different from each other, very different from anything else Jaco
recorded.
Black Market!!! (Alphonso too!)
I happen to like the Randy Bernsen recordings with Jaco playing, and those are
frm the mid 80's, so I would say that there some exceptions to your statements.
True, I haven't heard any "live" Jaco after the big band that I liked much,
but I think he still did some amazing studio stuff. Did he do any more composing
after the big band?
Bootleggers are everywhere! I was one of those collectors who
voraciously gobbled up anything I could find that had Jaco's name on it
before I had read Bill Milkowski's Jaco biography or given much thought
to the nature of the recordings or where the money was going for all
those bootleg CD's. Now that I know better and am the not-so-proud
owner of a fair number of bootlegs that are absolute GARBAGE, I just
thought I'd corroborate what you've already said elsewhere in the
site....bootleg buyers beware! Some of the stuff that is out there is
REALLY bad, whether in musicianship, sound quality, or both! I may,
however, have at least a disclaimer if not a dispute for your listing of
the CD "Curtain Call" as a bootleg. In the liner notes, it states,
"We're proud to add that this CD is the only posthumous live recording
that has the sanction of the Jaco Pastorius estate...."
If true, exactly what kind of "sanction" it received, or whether Jaco's
estate is receiving any royalties from it, I don't know, but I thought
that it might be worth mentioning, in case this CD might be unfairly
grouped in with so much other crap that is available out there. In
light of its 1986 recording date, some rough edges and gaps in Jaco's
fluidity are expected, but I also feel that there are some surprisingly
magical moments on this CD, and when I listen to it, I can't help
feeling that Jaco was somehow successful, however temporarily, in
working some of his old magic on that particular date, with some help
from Brian Melvin and Jon Davis. I also agree with the comments above
regarding Standards Zone; a beautiful ride in my opinion, whether you're
a "real jazz" fan or not.
```````````
(Despite what the erroneous liner notes say, "Curtain Call" is NOT "sanctioned"
or authorized in any way by Jaco's estate)
I'm sure this isn't going to go over too well with all of you slick-and-polished
fusion fans but I believe without a second thought that the greatest recording
that Jaco has ever made was the trio record called Trilouge with Albert Manglesdorf
and Alphonse Mouzon. It may not be so obvious at first listen due to the high
level of communication going on here but if one takes the time to absorb this
session you will realize that this recording will be legendary in the years
to come. For me above anything else (melody, tonality, technique) Jaco's strongest
point was his masterful sense of RHYTHM!!!! That is the one thing that all the
Jaco clones DON'T seem to have. This sense of rhythm combined with the rough
edges that he dared to utilize is what gives Jaco's voice it's awesome strength.
These are some of the things that I just never hear Jaco fans mentioning.
All the junk they've released is really a tragedy. And not just cause its a
financial rip off. Its appropriate that some of it is out there, as it
correctly reflects a period of his life. I know he's been responsible with
the family, but I think the Neil Weiss stuff is some of the worst, if only
because it is so widely available. There is a store here locally, if you
look in the Jaco bin all you find is the Live in NY discs. If you look at
any e seller of CD's its 20 to 1 junk to the stuff that was thoughtfully
produced. Lots of artists have a lot of dubious stuff out there, but it
comes from all periods of their careers. But Jaco has 4 solo discs from his
"legitimate" career, and dozens of junk, drunken jams and poorly produced
crap. Think of some kid who has heard of Jaco and goes out to buy one of
his discs to see what he's about. What a different first impression he
will have if he picks up the first record or Word of Mouth, as compared to
Live in NY, or Teresa. But the chances are he will pick up one of the latter
type.
Isn't it worth reccommending "weather report-the jaco years" in the this is
jazz series from Columbia, as being a first rate sampler of his work with the
group?
I do disagree with your statement to some degree. The B-day Concert, WOM,
Self Titled, Bright Size life are great CDs...BUT...the First CD I recommend
to my Music students to check out by JACO is BW001 - PASTORIUS PUNK JAZZ
"LIVE IN NEW YORK VOLUME 1." This CD show his Brilliance Perfectly! Jazz &
Audio Purest would say "Well, the recording quality of the other instruments
are poor, yadda, yadda" and I agree BUT...you get the essence of how
Musicians should feed off each other and how Jaco Fused different styles of
Music to create, what he aptly described as "Punk Jazz." Here are some
examples why I feel this way. On this CD check out Track # 2 DANIA and
listen to Hiram & Jaco trading Rhythm ideas, especially when they start
playing in a Latin feel towards the end / TEEN TOWN - This version BLOWS
AWAY ANY WEATHER REPORT VERSION in my opinion. Definitely makes the version
on HEAVY WEATHER seem ridiculous. This entire CD you can listen to over and
over and learn something new every time. If your looking for a CD where
every instrument is perfectly heard and mixed to Audiophile quality...THIS
SELECTION ISN'T FOR YOU...BUT...IF YOU ARE LOOKING TO TIME TRAVEL BACK TO
WHEN YOU COULD GO TO A SMALL CLUB IN NYC AND HEAR JACO PLAY MUSIC IN AN
INTIMATE SETTING...YOU CAN'T GO WRONG WITH THIS CD!!!! This CD is REAL JAZZ
FUSION (NOT THE GARBAGE THEY PUT OUT TODAY)!!!! You can hear all the
different influence, REGGAE, JAZZ, ROCK, SOUL, FUNK as the Musicians all
feed off of each other and groove, this is how a Live Gig should be played!
I DO SEND OUT A WARNING in regards to the other BIG WORLD "LIVE IN NEW YOUR"
CDs. The First Volume is by far the best one. Other Volumes have high points
but are more for the collector. I would recommend for anyone who want to
become familiar with Jaco to purchase not 1 CD at First..BUT 2..."PASTORIUS:
PUNK JAZZ - LIVE IN NEW YORK VOLUME 1" and either "INVITATION, THE BIRTHDAY
CONCERT" or "JACO PASTORIUS (Self Titled)"...This way you'll get the Full
spectrum of his brilliance!
Subj: PDB
Man that PDB (Pastorius Dennard Bullock) CD sounds like crap, as if it was recorded
with a cheap boom box stuffed inside a duffel bag full of laundry. It also has
a hum throughout. Jaco's bass is this pinched little sliver of a sound. Turn
up the bass and you'll get only more bass drum. If anyone knows or meets Hirum
Bullock, ask him why he stamped his name on this one as "Producer". What was
he thinking? besides some bootleg $ in his pocket, and giving CD-quality digital
audio a bad name. Also, ask him how Jaco's performance was on this recording,
'cause I can't hear it.
Subj: Re:PDB
Thats unusual, Jaco had a habit of cranking up his bass. Must have had a bodyguard
at the console. I have another one of these CD's that came out of Japan that
didn't sound too swift either.
Subj: Re:PDB
Yes, the DIW CDs are the worst bootlegs you'll ever spend your money on.
Subj: Re: Albums that represent him best
> definitely check out "Bright Size Life" (Pat Metheny's 1st release) and "The
Birthday Concert"
I concur. These are both great albums. BSL was pretty instrumental in my early
bass development. I think I transcribed almost every note off the thing. Jaco's
ability to create and place counterlines that are almost as strong and as important
as the melody lines was in full force on this album. The Birthday Concert was
great because almost all of the posthumous releases that I've found are from
later period Jaco when he wasn't playing as well (and were recorded under less
than ideal conditions). It was nice to get a "new" Jaco album from when he was
at the height of his powers.
Subj: Re: Curtain Call
The "Curtain Call" release is a good document of Jaco in a trio setting about
a year before his death. The rarities "John and Mary" and "Speak Like a Child"
are a welcome addition to an otherwise predictable bag of song titles. The fidelity
is pretty good, though not as stellar as is implied by the use of the word "digital"
more than once in the liner notes. The most disturbing thing is the attempt
to put down all other posthumous Jaco releases by stating: "We're proud to add
that this CD is the only posthumous live recording that has the sanction of
the Jaco Pastorius estate." (This sentence needs the word "release" - it makes
no sense) Peter Erskine personally responded to me: "I can assure you that the
Warner Bros CD "Birthday Concert" has the blessings of the Pastorius Estate,
as they (John Pastorius, to be exact) shipped the tapes to Warners before we
could mix them."
Sonically, "Curtain Call" has merit, but it's unfortunate that the liner notes
contain additional inaccuracies and other problems associated with a release
lacking vision.
The only truly great posthumous Jaco release,
in my opinion, remains: "The Birthday Concert." what do you think?
Subj: Re:Curtain Call
Curtain Call is typical Jaco shortly before his death. The sound quality is
pretty good compared to some of the other late period releases and his playing
isn't bad. It doesn't compare to the Birthday Concert though. Not only was he
at the height of his powers when that was recorded, but the other guys on the
date were better too. I'd love it if someone would release more stuff from pre-1980
when he was really dynamite.
Subj: Re:Curtain Call
The fact is, Curtain Call is NOT authorized by the estate, as stated on the
CD.
Misc. from e-mail, newsgroups,
message boards.
> Regarding Randy Bernsen's "Paradise Citizens"- I have the CD
> version of that, and there is one track with Jaco, the title track.
> It is indicated that it is a CD only bonus track. It's an
> interesting tune- sounds to me like it's an edited tune- just
> snippets pieced together, and you can hear Jaco, although it's not
> *essential* in my opinion. I found the CD in a cut-out bin for 3
> bucks, so I couldn't pass it up!
Once released, then near impossible to find, now available again:
Japanese import laserdisc ("Live in Montreal") made by
"Spectel Video, Manufactured by Laserdisc Corporation, Distributed by
Pioneer Electronic Corporation." It's number is SM058-0006. Almost
everything on the cover is in Japanese, except for the following
listing of the tunes and their authors.
1) Overture (Opening)* Jaco Pastorius
2) Chicken Pee Wee Ellis
3) Donna Lee Charlie Parker
4) Solo Bass** Jaco Pastorius
5) Mr. Fone Bone Bobby Mintzer
6) Fanny Mae Buster Brown
comments: * Known as "Soul Intro" on _Invitation_ and _The
Birthday Concert_.
** "Amerika" is played at the end.
Just spoke with Julie from the Festival International de Jazz
de Montreal and I got the following info from her concerning Jaco's
performance at the Festival which is on the video.
Date: Sat., July 3, 1982
Time: 11pm
Place: Theatre St-Denis
Subj: instructional video
Why do the transcriptions suck so much in the Modern Electric Bass video booklet?
Is it because of the rush to get it out on the shelf ASAP? Don't these video
producers put any importance on accuracy?
Besides numerous wrong notes and rhythms, the barlines are in the wrong place
on at least one example, an odd way to feel it.
Hopefully musicians are catching these blunders and trusting their own ears.
Novice music readers aren't being done any favors by having this booklet included.
I have a very early copy. Maybe someone took care of the problems for later
videos sold --- wishful thinking
Here's the editor note I mentioned concerning Jaco's first
Downbeat interview. It is taken from the Weather Report interview in
the February 8, 1978 issue of Downbeat. This was the band interview
that followed the infamous 1 star rating Downbeat gave "Mr. Gone".
Jaco really doesn't say much in the whole interview as it's primarily
dominated by Zawinul (what else is new).
Pastorius still smarts over a misquote in his 1977 Downbeat
feature. "They wrote that Jaco Pastorius writes
Ft. Lauderdale with a "t" because this is the way the Cubans
and third world people spell it. What I said was that when I
was a kid my name was spelled J-o-c-k-o like Jocko Conlan, the
umpire, because I was a great ballplayer. I played the hell
out of baseball, man. I was into nothing but sports. Then
when we moved to Florida, the Cubans and all the third world
people spelled it J-a-c-o because that's how you spell it
phonetically in Spanish. That's what I said in the interview
and it comes out that I misspell Ft. Lauderdale."
Subject: Re: Jaco and the fretless thing
:
: Hi Mark,
:
: I attended a Weather Report press conference in Copenhagen in the fall of
: 78 (the "Mr. Gone" tour), representing the Swedish daily "Expressen", so I
: never wrote an in-depth article. The press conference was a weird event,
: BTW: Zawinul and Shorter were aggressively quiet and never responded to
: questions in complete sentences.
:
: I managed to have a talk with Jaco, but he was drinking tequila from the
: bottle for lunch, so he was pretty incoherent and mostly he was describing
: his own greatness, although he was more pleasant to deal with than Wayne
: and Joe, esp. when I told him that I, too, played bass. Peter Erskine was
: new in the band, and he was a really nice guy, though; the only one that
: made any real sense talking to.
:
: Back at the office, I wrote just a short piece. The music editors didn't
: care much for fusion, they were all into punk, and the jazz editor was
: mostly a mainstream kind of guy...
:
: Best wishes,
: Mikael
Subj: Jaco
...... The author is right-Everybody does seem to have a wild story about meeting
Jaco.
I was in Florida in 1983, playing in a rock band and on my way into a rehearsal
hall/ music store/cafe. I saw a tall guy pissing in the parking lot in full
view of everyone. I knew it was Jaco immediately. I shook his (free) hand and
went inside. A few minutes later a couple band members and I went upstairs to
a small health food cafe. There was Jaco playing with a drummer and sounding
unbelievable. We listened for a while then went back downstairs. Out of the
blue he came over to us and suggested I jump on his shoulders( I'm 5'5"). He
proceeded to run amok with me on his shoulders knocking over all kinds of stuff.
I'll never forget that.
Subj: Meeting Jaco
I was fortunate to have met Jaco in '80. I stood two feet away from him and
juggled with him while talking about Florida and Joe Diorio. He was very lucid
and played incredibly that night(Weather Report). Got to hear him play' Freedom
Jazz Dance' at soundcheck and hear him play drums..
Having seen him coked out of his mind a year earlier, it was nice to have caught
him in a relatively sane frame of mind. I will never forget this encounter with
such an inspiring musician.
Jaco was a general show-off. Joni Mitchell said that he was a 'gerner' which
is someone who can contort their face to look like all sorts of weird things.
After the show, backstage, he got into this thing of going 'I can juggle a ping
pong ball, a cement brick, and an orange'. As fate would have it, I had just
learned to juggle and could barely do the thing where you juggle six balls between
two people. I thought that maybe starting a conversation with' what kind of
strings or what kind of changes did you blah, blah, wouldn't work to well so
I blurted out' Heh Jaco wanna juggle with me' and we proceeded to grab a bunch
of oranges and juggle. He was into it and it seemed to break the ice. The other
thing that I remember is that he had like three strands of hair on his chin
about six inches long...
Subj: Another true story
During the Winter of '85 Jaco was playing a lot with Hiram and Kenwood in a
trio. One of the gigs at Seven Ave South Jaco was wearing "war paint" while
playing the gig. After the gig was over you could hear the murmuring in the
audience commenting on how wild Jaco was because he wore the "war paint". I
went up to the stage after the gig was over to say hello , at the time I was
taking lessons from him, He said " Hi Jeff Do you want to see a picture of my
kids?" Then he produced a picture of two young children in Halloween costumes
out Trick or Treating. The costumes they were wearing were of Native Americans
in "war paint"
That was probably the most Soul bearing moment that Jaco ever showed to me during
the short time I knew him. Everyone in the audience could only comment on "that
wild bass player" but Jaco was paying tribute to his own children that night
at Seven Ave. South. I didn't truly grasp the depth of that gesture until 5
years later when I had my first child.
Subj: more jaco stories
in 1982 i was playing bass in the house band at the baked potato in LA, along
with drummer bobby economou. one night, after the gig, we were hanging out in
the alley behind the club and up roars a honda motorcycle that screeched to
a stop right in front of us. amidst the dust and darkness i saw this gangly
figure removing a ww1 leather pilot's helmet and a bandana from around his neck.
when we heard..."what the f***'s happenin'..." we knew who it was.
jaco had come all the way from ft. lauderdale on his motorbike (took him five
days, he said), slept by the side of the road, just to come and hang out w/
economou. he played us a steel drum piece on a walkman he had composed and recorded
at his house w/ othello and a bunch of other pan players. and then he split.
as far as i know he headed back to florida.
what a crazy motherf****r!
I am a Sergeant at the Broward County Jail in Ft Lauderdale Fl. During the summer
of 1987 I met Jaco while he was incarcerated in my facility. Myself and a couple
of teachers that worked at the jail and were also musicians befriended Jaco.
We got approval to bring in a bass for him to play, and he gave what was probably
his last performance, in front of a group of inmates who really had no idea
who he was or what he was all about. I brought in one of Jaco CDs, and he autographed
for me. It was the Jaco Pastorius CD. He wrote on the front of the picture of
him the following: "To Sergeant C., Thanks for caring. Pompano Annex Aug. 87
Jaco" He also wrote some music on some plain white paper he said it was something
new he was working on. He said he had some big plans when he got out of jail
he was going to New York to do some recording, but we all know what happened.
One day I came to work and found out he had been released, the rest is history.
Subj: A true Toots story of Jaco
This past September 96 I had the honor of performing with the legendary Jean
"Toots" Thielmans. Before the concert began fellow band members and myself had
the priviledge to listen to the Master speak. One of the experiences he shared
with us was his tour with Jaco in Japan. Toots now is now in his 70's, so 14
years ago he still would have been considered an elderly gentleman. Toots spoke
about traveling in Japan, and that Jaco would normally leave at the last minute
to catch the trains to the next gig. this would leave Toots exhausted from running
to catch the train. Toots asked Jaco to please tell him in advance when it was
time to catch the trains to the gigs, so he could walk at a leisurely pace to
the train stations. Jaco said "Papa (that is what Jaco called him) don't worry.
I'll take care of it" The next gig Jaco hired two Japanese band boys to carry
each of Toots' Harmonicas and take him to a limousine waiting outside of the
hotel, which would then drive him to the train station. Jaco told the band boys
"Take care of Papa and get him whatever he needs". After telling the story to
us Toots said "Everyone used to call him a punk, but if that is a punk then
I'll work for a punk any time"
Just curious, do you have any idea where Jaco charts/sheetmusic could be
found? I have snippets of a few songs from various fake books, but I'd
really like a chart for Reza or Invitation.
Also, I once read that Jaco had a handful of un-recorded charts completed
when he died. I wonder how one could get hold of those - from his
family/estate? It would be really great to get hold of those and get
someone to play them...
Maybe Bob Mintzer could get them. I have a contact who knows him......
From WORLDCAT (library catalog):
AUTHOR: Preston, Andrew C.
TITLE: Concerto requirement
PLACE: Columbia, S.C. :
PUBLISHER: School of Music,
YEAR: 1988
PUB TYPE: Recording
FORMAT: 1 sound tape reel: analog, 3 3/4 ips, stereo. ; 7 in., 1/8 in.
tape + 1 recital program ([1] p. ; 23 cm.).
NOTES: In partial fulfillment of the Master of Music degree.
The music of Jaco Pastorius (Portrait of Tracy, Used to be a cha-
cha, Havona, Teen Town, Punk jazz, Three views of a secret).
Recorded at Fraser Hall, University of South Carolina, Columbia,
S.C., on September 21, 1988.
SUBJECT: Guitar music.
AUTHOR: Karpman, Laura.
TITLE: Portrait of Jaco :
a fantasy based on themes of Jaco Pastorius /
YEAR: 1980 1989
PUB TYPE: Musical Score
FORMAT: 1 ms. score (64 p.), bound ; 28 cm.
NOTES: Holograph (photocopy).
For violin, viola, 2 violoncellos, and piano.
"Commissioned by the Minneapolis Artists Ensemble with funds
provided by the Jerome Foundation."
Portrait -- Rondo a la teen -- Three views of an opus.
SUBJECT: Pastorius, Jaco -- Songs and music.
Quintets (Piano, violin, viola, violoncellos (2)) -- Scores.
OTHER: Pastorius, Jaco.
Jaco's brother Rory:
AUTHOR: Pastorius, Rock Michaels.
TITLE: The warning
PLACE: Fort Lauderdale, Fla. :
PUBLISHER: Little Train Records,
YEAR: 1988
PUB TYPE: Recording
FORMAT: 1 sound disc (44 min.) : analog, 33 1/3 rpm ; 12 in.
NOTES: Rock music.
Lyrics to the song, For, against or on the fence?, on container.
(C'mon baby, I'm) lonely -- For, against or on the fence? --
Waiyne cocaiyne -- Come heil with me (A tribute to the likes of
Ollie North) -- Wake up all you DJ's -- Wandering through the
night? -- Two good reasons -- The warning.
Rock Michaels Pastorius, vocals and percussion ; with
instrumental and vocal acc.
Recorded in various Florida studios.
MUSIC NO: LTR-5530; Little Train Records
Subj: Re: Jaco Videos
There is a video called "Berlin '79" I think.
It's about 22 min. of solo bass, with incorrect song titles appearing on the
screen: "Remark You Made" & "Chromatic Phantasie"
There is a very long version of "Continuum" at the beginning where Jaco starts
in the back of the theater, walks among the crowd for 10-12 minutes, and finally
gets to the stage.
Could this be the same one you mention? - "Berlin Jazzfest 78" ??
Please give me more details of this video recording if you know any more.
Subj: Re: Jaco Videos
You are right, the Jaco solo performance was in 1979! The official name
of the TV consignment was "Focus on Jazz" and it was a record of the Jaco
solo performance at the "Berliner Jazztage 1979".
I don't know more about this festival and its dates. The Weather Report
gig in the "Rockpalast" was in September 1978 and I will try to get a
copy from the TV station. (They played a lot of the old "Rockpalast" stuff
the last month on TV, but not this concert!).
Subj: Need Portrait of Tracy transcription
Please tell me how I can get a transcription
of "Portrait"; I'd like to know how Jaco does those harmonics!!
Subj: Re: transcription
Portrait of Tracy (from Jaco Pastorius).
(transcription) Peter Mark Prince. BASS PLAYER, Sep/Oct 1989 p58
Here's the intro- first 13 notes: (3rd fret harmonics are actually slightly
sharp of the 3rd fret - in the area between 3rd & 4th fret, but very close to
3rd) (G5 means: G string - 5th fret harmonic)
G5 G3 D4 A3
D5 D3 A4 E3
A5 A3 E4
E7
E12
learn this harmonics scale up and down:
E4 A5 E3 A4 D5 A3 D4 G5 D3 G4 G3 - each note is higher pitched
(E4 meaning E str. 4th fret harmonic)
(remember 3rd fret harmonics are actually slightly sharp of the 3rd fret)
that'll be $25 (just kidding)
Subj: Re: transcription
The only problem I'm having is with the
D#. I can get one by fretting my 6th
position (on the D string--G#) and playing the harmonic above the 9th position
B;
But, it seems an octave too high for what I'm hearing. Please reply.
Subj: Re: transcription
Besides the last chord, the D# is toughest.
There's at least 2 ways to produce the elusive D#:
G str. 8th fret fretted note (D#), with a right hand thumb false harmonic at
the 20th fret.
or
A str. 2nd fret fretted note (press down a low B note), AND left hand pinky
stretched waaay up- touching lightly just flat of the 6th fret to touch for
the harmonic. Right hand pick the A string firmly back near the bridge for clearest
sound.
I've always used the first way, Jaco used the 2nd way.
Subj: Brian Melvin Trio
Stopped listening to Jaco for a while but
my
interested was piqued by Milkowski's book. I have a question: What bass
does Jaco play on Melvin's "Standards Zone?" The book suggests that his
two main instruments (the '62 fretless, and the '60 fretted) were stolen
before these tracks were cut. However, it still sounds like him (his
sound was really in his hands) and would like to know how he was able to
achieve it without his instruments.
Thanks in advance.
Subj: Re: Brian Melvin Trio
Hi,
I don't know the answer regarding the bass used.
He must've had a knack for finding great old Jazz basses to play after his were
stolen. I remember reading that his music associates (Brian Melvin, Bereli)
would have to supply him with a bass. A friend told me of a sad story where
someone ran off with Jaco's bass which he left leaning against a tree while
playing basketball. There were some who "loaned" him basses knowing they'd likely
never see it again.
Although becoming more rare to find, the 60s Fender Jazz Bass has been such
an industry standard - mostly consistent weight, wood, electronics, etc. The
possible exception would be the marine epoxy (i believe) Jaco painted over his
fretless fingerboard - giving it a very hard playing surface and 'singing' sound.
My guess is that it was not so difficult for Jaco to get his 'Jaco sound' with
many good Jazz basses he got his 'hands' on.
Subj: Re: Folder
Has anyone heard about the Jaco Channeling Sessions held in New York?
In Japan, there is a new book/CD release of the same audio contents of the "Modern
Electric Bass" instructional video. It must be an edited version because of
the length limitations of a single CD. I believe the Modern Electric Bass instructional
video is over 90 minutes long.
I keep reading these hero-worshippers' messages about his godhead, but he was
just a man, with problems as serious as his talent.
Subj: AAABoy
The Ian Hunter "All American Alien Boy" album is really unique for Jaco. Bobby
Columby set it up, and thought it would be a great career move for Jaco, playing
on a more commercial project. I wonder if Jaco didn't want to do the session,
and that's why his playing is so relaxed and not busy. Or maybe it was just
totally unselfish bass playing judged appropriate for the songs. Besides his
great solo on the title track, he plays like any everyday creative competent
bassist would, and there's something really cool about it. He just plays bass
as opposed to playing jaco bass, and this album is the best (and about the only)
example of this.
Subj: Re: AAABoy
Word was, Jaco asked to play on Ian's record. Ian actually requested Jaco play
a solo on AAA boy. At first he refused, not wanting to take the limelight away
from Ian. Eventually, his ego got the best of him and he decided to record the
solo.
Subj: a group called WOODCHUCK
I knew Jaco back in 1970-71 when he was about 18 and played in a group called
WOODCHUCK in Fort-Laud. Fla at the Flying-machine and the SHE-club on Fort-Laud
Beach. I knew him through my older brother who worked with a group with Bobby
Caldwell at the same clubs. We were all very into Little Beaver and the Rocketeers.
Is he still around?
Woodchuck was a trio of drums-hammond-b-3 and Bass -that's all you needed. It
was unbelievable RnB. Woodchuck really cooked. Jaco did the greatest rendition
of BARE-FOOTIN on Bass ever done, Otis Redding stuff, etc
The Jaco I knew was very quiet but at 18 he played bass like nobody. We used
to go over to Jaco's house and listen to RnB 45s.
Jaco used to come into the club my father owned to see my brother when Jaco
was living on the street right before he was killed. When I knew Jaco he was
straight--no drugs at all. He was a nice kid when I knew him. I used to meet
him at the castaways Club and sit back stage to watch him after I got off my
gig in FortLaud.
Subj: "Havona"
I was intrigued by the passage on Jaco's spiritual studies in Bill Milkowski's
biography, page 56, about The Urantia Book.
Quote from the Urantia Book: "Paradise
is the gigantic nuclear Isle of absolute stability which rests motionless at
the very heart of the magnificent eternal universe. This central interplanetary
family is called 'Havona'.../It is of enormous dimensions and almost unbelievable
mass and consists of one billion spheres of unimagined beauty and superb grandeur,
but the true magnitude of this vast creation is really beyond the understanding
grasp of the human mind."
Subj: Jaco/Gil Evan Orch.
It was in New York in 1984 at Seventh Ave. South if I am not mistaken. It was
one of his regular Monday night gigs. This was the club that I think was owned
by the Brecker Bros. Others in the band included Hannibal, Lew Soloff, Pete
Levin, Daryl Jones (also on bass) Chris Hunter etc. I remember pointing out
Daryl Jones to my friend as I had seen and met him in Berlin which I was just
returning from. We noticed a guy in a paisley shirt, granny glasses and long
hair looking very Haight Ashbury circa 1968 with a bass. My friend said "whos
that hippie bass player". I replied " I don't know but he sure looks confident
considering the company hes in". It was f---ing great! He hit one note to open
the first song and my friend and I's mouths dropped and we looked at each other
and both said "JACO!". He was truly outstanding, without question the most exciting
player on stage that night. I play alto and was playing in a big band around
that time. Jaco at times would play leading the band just like the lead alto,
at other times in the pocket, at other times he was just f---ing around showing
licks to Pete Levin and just goofing off. I remember Lou Soloff got pissed at
him because he was having a real hard time putting his solo together and Jaco
was goofing around showing licks to the rhythm section. While it wasn't a great
concert it was a great night and I will never forget it. It was the only time
I saw Jaco.
Subj: Biography
So what would everybody think of a Jaco episode of "Biography" on A & E, the
Arts and Entertainment Network? I met with them earlier this month and passed
along the Bill Milkowski book and the Birthday CD, but musicians are a tough
sell for them because of music clearances and their desire for mainstream celebrities.
I wanted to do my part, though, and pitched Jaco's story as part of a "Monster
Players" Jazz Week; true, they haven't done Bird and Duke and all the classic
guys yet, but I was gunning for youth appeal. The nature of the beast, I'm afraid.
Subj: Re:Biography
Sorry to say, but selling Jaco in any venue is a tough sell. Selling him "main
stream" jazz is tough enough, but selling him as a "progressive" is even tougher.
The problem with genius is that it creates it's own catagory. Think of it this
way, does Einstein really fall into the same catagory as an Edison or a Henry
Ford? Who do you compare Jaco to in the modern age of Jazz? Even bass players
don't compare to him (Jimmy Halsip, Ralph Johnson, Rodby, etc.). Hate to say
this, but Jaco is more of a documentary film, and not a "Biography" hour long
flash. It's a very important message, and a very tough sell. Sorry guy, just
an opinion
Subj: Re:Biography
I don't disagree at all that Jaco's a tough sell. And I think a documentary
may well be necessary to do him justice. This is exactly the kind of comment
I'm interested in.
Subj: Re:Biography
I`d love to see a Jaco Bio.... BETTER YET...How about a Movie about his life!!!
Who would play the Jaco role?...
Subj: Re:Biography
Andy Garcia? Lou Diamond Phillips?
Subj: Re:Biography
Lou Diamond Phillips made a good Richie Valens, but Jaco??
One problem with casting (?!) for Jaco is that through the years, (especially
when you consider the negative physical effects drugs and alcohol had on him)
different photos of him look very different. I never saw him in person, and
i may be totally off, but what i mean is that in different pictures he looks
like different people. Compare album pix or even some of the photos from the
Milkowski book. Try to see what I mean.
Any artistic, cinematic, or journalistic effort to preserve the spirit and music
of Jaco is surely one of the most noble efforts one can make. The idea of a
Jaco movie is amazing.
Subj: Re:Biography
If a Jaco film were to happen, PLEASE let it be a documentary, and not some
character actor's portrayal. The potential for disappointment sounds too high.
(though I admit Forrest Whitaker playing Bird did have an impact on me)
Subj: Re:Biography
Hmmm; love the idea of a Jaco documentary!. A film sounds too disappointing,
but it's a neat idea to play around with. I vote for Jimmy Smits to play the
lead.
However, one certainty is that in 2000 Ken Burns will release his mega-documentary
on Jazz. I sincerely hope Jaco is among the topics discussed. Either way, I
can hardly wait until that release! If it's anything like his "Baseball", we
are in for one helluva treat folks!
What truly makes Jaco one of the greatest is his ability to express himself
on his instrument. Technique can be learned by anyone, but the ability to create
your own style and vocabulary is very difficult. Jaco is one of the few bass
players who is immediately recognizable by his note selection and phrasing alone.
Jaco was more than a fretless bass or an
amp setting, he was a truly unique voice.
> first thing played by Jaco after the head of
> Donna Lee is the first two measures of the Bird tune "Kim"
> "Kim" is the tune immediately after "Donna Lee"
> in the Charlie Parker OmniBook.
> Don't tell me Jaco wasn't deep.
Subj: NOT a bootleg
As for a "legitimate" posthumous release, definitely check out "The Birthday
Concert" - a GREAT document - high fidelity, Brecker and Mintzer killin', a
true representation of Jaco as a composer/arranger and player, outstanding liner
notes and quite a labor of love by Peter Erskine and others responsible. Get
it!
Subj: Available again
The CDs of "Havana Jam" & "Havana Jam II" are now available. (Japan)
The Laser Disc and VHS video of "Live in
Montreal" '82 is again available.
If you've heard the way-out-of-print rare "We Remember Pastorius" tribute (Joe
Ferry, producer), there's a beautiful arrangement of "Portrait of Tracy" done
as a slow latin-type feel..... Joey Calderazzo - piano, George Mraz - acoustic
bass, Adam Nussbaum - drums .... very different, gorgeous. Look for this as
a used CD.
There will probably never be another bassist that will be as influential and
revolutionary as Jaco Pastorius.
Subj: SWV
Jan 98
SWV, BLACK POP GIRL GROUP, HAS A NEW RELEASE ENTITLED "RAIN" WHICH COPS THE
FIRST LINE OF "PORTRAIT OF TRACY" BY JACO. ANYONE ELSE HEAR THIS YET? IF RELEVANT,
PLEASE PASS ON.
Subj: Re: SWV
It is a tune called "Rain" and the verses, both melody and harmony, are an absolute
dead cop rip from Portrait of Tracy. Now as far as the adaptation goes, I think
the arranger did a great job. However, I scanned the liner notes very carefully
and found no mention of Jaco anywhere.
Subj: Re: SWV
I just heard this ... definitely is lifted from Jaco's idea - 1st 9 melody notes,
with identical bass and harmony .... the rest of the song is very different,
but this little familiar passage keeps coming back.
There's another track on this CD that credits a musical idea taken from a Jeff
Lorber song. But Jaco's name is nowhere on the CD liner notes, not even an acknowledgement.
It's really a beautiful sounding song, very well done, but kinda sad to hear
this way.
Subj: Re: SWV
The guy's name is BRIAN A. MORGAN. He composed (!) and arranged the song for SWV.
Even if a solution or compromise is worked out, the damage is done; A CD release
without the permission or proper credit. Maybe this BRIAN A. MORGAN assumed
or hoped no one would catch it.
Subj: Re: SWV
Good news:
Apparently, the estate has signed an agreement with Brian Morgan and MCA.
And, the SWV tune "Rain" is now legitimately co-written by Jaco, and is reflected
as such in June '98 Billboard magazine.
Subj: Re: SWV
March 1999
SWV has a new release of Greatest Hits that includes the song "Rain" - previously
released with no Jaco credit, even though the song contains parts of "Portrait
of Tracy"
The credit for "Rain" on this new CD lists composer credit: Brian Morgan/Jaco
Pastorius
Brian Morgan is given full credit on the original release of the song a couple
years ago.
Oct 2006
Hip-Hopper Chingy has a new rap called "Pullin' Me Back" which includes
a repeating sample (of Jaco's melody) from SWV's "Rain." ( hear it
at myspace.com/chingy )
"our music" !
Subj: Why do I like Jaco?
It is not uncommon for an extraordinary artist to have a flaw or two. Ask anyone
to whom Hendrix, Parker, Breau, Lennon, Morrison, Bonham, Coltrane, or Miles
is important and they'll probably be able to list all of the self destructive
things they did. But, more than likely, they are best remembered for the contributions
they made, especially the way in which their worked blended genres to create
something new, something so captivating that it occupies one's thoughts for
lengthy periods.
When I think of Jaco, I don't think of the denizen of the streets who, as a
function of the interaction between alcoholism, cocaine addition, and manic
depression, exhibited downright anti-social behavior that eventually led to
his death.
Instead, I think about wonderfully talented musician I saw sometime in late
Winter, 1980, at Yale's Woolsey Hall. To an aspiring 18-year-old bassist, he
was completely revolutionary--he raised the bar in feet, not just inches. He
was so good, so in control of the music and his instrument--and quite the entertainer--that
I left that show buzzed enough to go home, take the pickguard off my '72 Jazz
Bass, put on "Heavy Weather" and shed. He made me a better player by his example.
You might want to look at the recent (within the last year) issue of Bass Player
Magazine with Jaco on the cover, and look at the full page color picture that
accompanies the article. Study it. Look at his face, especially the expression.
That's not a maniac; that's a man passionate about his instrument and his music.
Subject: Jaco esoterica
I've always wondered why Jaco took the pickguard off of his Jazz Basses. There's
no obvious advantage to doing so since I don't think it makes servicing the
instrument any easier. And I think the jury is out on whether or not it makes
the instrument look better (although it certainly made by '72 JB look MUCH better.)
By chance I was watching one of those VH-1 specials. The topic was Aretha and
one clip from the late 60s showed her singing with Ray Charles. The bass player
was clearly visable and it looked like Jerry Jemmott--don't know if he was playing
in his or her band--and lo and behold he was playing a sunburst JazzBass (pre
CBS) with the pickguard removed. Now Jemmott was one of Jaco's biggest influences
so I can't help but wonder if he (Jaco) removed his pickguard to emulate Jemmott.
Subj: Re: Jaco esoterica
When I took bass lessons in the 60's my instructor said no real bass player
would ever play with a pick(that was for converted guitar players). It was quite
common for players in that era to remove their pickguards (I did), as a statement.
1998
WEATHER REPORT
This Is Jazz #40-The Jaco Years
Label: Columbia 65451
Studio / Stereo
1 disc
Released: 04/28/98 Originally Released: 1998
Track Listing:
1. Punk Jazz
2. River People
3. Remark You Made, A
4. Havona
5. 3 Views Of A Secret
6. Teen Town
7. Speechless
8. Port Of Entry
9. Barbary Coast
10. Slang
Notes:
Weather Report includes: Wayne Shorter, Jaco Pastorius, Joe Zawinul, Tony Williams,
Alex Acuna, Peter Erskine.
This is part of Columbia's This Is Jazz series.
July 1998
There's a new Jaco Pastorius tribute released by Victor Entertainment (Japan)
on July 23. The complete songlist for the album is:
**Come On, Come Over (B.Herzog - J.Pastorius) Mowgli Publishing
Hiram Bullock (vo,g) Will Lee (vo,b) Jim Beard (kbds) Steve Gadd (ds) Don Alias
(perc) Andy Snitzer (as) Chris Hunter (ts) Jim Hynes (tp) Michael Davis (tb)
A Remark You Made (J.Zawinul) Mulatto Music
arranged by Kevin DiSimone
Bill Evans (ts) Mike Stern (g) Gil Goldstein (kbds,accordion) Mark Egan (b)
Steve Gadd (ds) Don Alias (perc) Kevin DiSimone (additional kbds)
Continuum (J.Pastorius) Mowgli Publishing
Victor Bailey (b) Gil Goldstein (kbds) Steve Gadd (ds) Don Alias (perc) Michael
Colina (additional kbds)
Jaco (G.Goldstein)
Bob Mintzer (ts) Mike Stern (g) Gil Goldstein (kbds) Mark Egan (b) Steve Gadd
(ds) Don Alias (perc)
**Dania (J.Pastorius) Mowgli Publishing
Bob Mintzer (ts) Hiram Bullock (g) Jim Beard (kbds) Mark Egan (b) Steve Gadd
(ds) Don Alias (perc)
Fall'n Star (J.Patitucci)
John Patitucci (b) Steve Cardenas (g) George Whitty (kbds) James Genus (b) Peter
Erskine (ds)
Okonkole Y Trompa (J.Pastorius - D.Alias) Mowgli Publishing
Randy Brecker (flgh) George Whitty (add kbds, p-solo) John Patitucci (b) Peter
Erskine (ds) Don Alias (perc) Michael Colina (kbds, programming)
Third Stone from The Sun (J.Hendrix)
arrg by M. Brecker & C Blenzig
Michael Brecker (ts) Joey Calderazzo (kbds) John Patitucci (b) Jeff Watts (ds)
Three Views of a Secret (J.Pastorius) Mowgli Publishing
Randy Brecker (tp) Bob James (p) Steve Cardenas (g) James Genus (b) Peter Erskine
(ds)
Song for Jaco - Song for a friend (P.Erskine) Ersko Music
David Sanborn (as) Bob James (p) Steve Cardenas (g) James Genus (b) Peter Erskine
(ds) Michael Colina (additional kbds)
A Wing and A Prayer (M.Stern) Little Shoes Music
Bill Evans (ss,ts) Mike Stern (g) Gil Goldstein (kbds) Mark Egan (b) Steve Gadd
(ds) Don Alias (perc)
+Portrait of Tracy (J.Pastorius) Mowgli Publishing
Marcus Miller (all instruments)
Produced by Michael Colina
+ Produced by Marcus Miller
** Associate Producer: Bill Milkowski
This is now available in Japan
Does anyone know about a U.S. release for this CD??
Subject: Sept. 22, 1998
As you know yesterday was the eleventh anniversary of Jaco's death. I went down
to the cemetery in Margate alone with the intention of buying some flowers to
put on the grave. I had forgotten that it was a holiday (Rosh Hashanah) and
the street venders of flowers seemed to have taken the day off. It has been
raining a lot, and some of the markers were under water. Because of the storms
there were sticks littered all over the place. The place was deserted, so I
took it upon myself to clean up the area. Jaco's marker was heavily tarnished
so I got some rags out of my truck and started trying to clean it up. The metal
was all black with mud from sitting in water for so long. While I was cleaning
it I just started to cry. I know that the grave represents just the shell of
the person that lived, but this person changed a lot of lives, opened a lot
of eyes and made some great music that made a lot of people happy. I just couldn't
believe I was the only one in the area thinking about his sad end that day.
I didn't have any flowers to give so I put my favorite sunglasses on the marker.
I guess it sounds dumb but he is the guy that opened my eyes to the possibilities.
Subj: New Jaco Bass
Sept. 98
Kevin Kaufman - Jaco's bass technician - has been invited to the Fender plant
to discuss the New Jaco Signature bass. It is going to be priced much less than
the limited edition version that he designed for them several years ago.
Subject: For UK fans
1998
BBC Radio 3 is advertising the following:
Weekly from Saturday November 14, 6-6.30pm (repeat 11.30-12 midnight Friday)
Portrait of Jaco: A study of bass player Jaco Pastorius, featuring hitherto
unheard recordings and interviews with his family and friends.
November 14, 11.30-1am: A rare recording of Jaco Pastorius's Word of Mouth Big
Band.
Subject: Re: Epoxy
A friend of mine told me that Jaco Pastorius used something called epoxy to
cover the fingerboard of his fretless. I was thinking of doin the same because
the roundwounds are my faves but they eat a lot of wood....
where can I get that epoxy thing, how you put it on the fingerboard?
Also, what other materials would be good to protect the fingerboard?
Subj: Re: Epoxy
Taken from an interview from Guitar Player, August 1984:
Jaco said:
"I used Petite's Poly-Epoxy; it's boat epoxy. You can find it in any boating
supply store around Florida. It's the toughest epoxy they make. You apply it
with a brush, and it takes several coats. I used about six coats on my fretless,
and it took about a day for each coat to dry. It's essential. It saves the instrument
from getting eaten up by the roundwound strings."
Subj: Re: Epoxy
I've heard of crynoclacylate (i'm sure i didn't spell that right) adhesive (also
known as superglue) being used, but that sounds like even more of a nightmare
to apply.
Subj: Re: Epoxy
Superglue works okay, I have done several that way. Epoxy is very dangerous,
as the dust from sanding it is a carcinogen. That's why I switched to super
glue. Better to use ebony though, much less maintanance.
Subj: Re: Epoxy
Back in the late seventies I got ahold of Mark Egan who was kind enough to explain
the process of applying marine epoxy to a bass neck. I did it for my own bass
and the basses of several other players in town. Each neck took many hours to
complete. I had real problems with high spots and brush marks. I had to sand
almost the whole last layer of epoxy off to get it even. I never got that bwwooowww
sound though the necks did stand up to roundwounds. A couple of years later
I met Jaco and he handed me his bass while he showed somebody an arrangement
on piano. I had a big laugh when I looked at the neck and saw brush marks and
high spots all over it. It looked like he just put the stuff on thick and wailed.
I have a couple of frettlesses that a local luthier put epoxy on in a spray
booth. It's the only way to go. The sanding will take for ever and you won't
be happy with it in the end. One problem; As I grew up I found that I was only
using the epoxy frettlesses on commercials and industrials when they wanted
that now cliche bwwooooww. Having the epoxy frettless sound does (or should)
force you to find your own style. It's too easy to sound like just another asshole
trying to do Jaco.
Subj: Great quote
Journalist: What do you see as the future of music?
Jaco: Well, tomorrow I'm playing in Florida!
from- guitar player 84 interview by bill milkowski
jaco said-
"i use two acoustic 360's..bass settings all the way up, and the treble
about half way up"
"i have an old makeshift fuzztone..there's no brand name at all..good
example..title cut -word of mouth-album. it's got a built in delay that i
can put on infinite repeat whenever i want to lay down some kind of track
to play on top of.."
"i've got an mxr digital delay, which i put through one amp, leaving the
other amp clean, to cause a natural sort of vibrato. It's almost like a
leslie effect or like a flanger. a good example of that effect....title
cut from 8:30...-continuum- from my first record...-reza-or- continuum-
from -live invitation-...-coyote- and -hejira- on (joni mitchells)
-hejira-...-goodbye pork pie hat- and -god must be a boogie man- on
mingus"
April 99
In Japan there's a new version of the Joni Mitchell video (VHS tape) "Shadows
and Light"
Instead of 60 minutes, this one is 75 minutes .... two songs added: "Hejira"
and
I can't recall the other song....
I don't know of availability of this outside of Japan... anyone know? ... new
laser disc?
Subj: new Jaco CD
Date: Thursday, July 1, 1999
I wanted to let you know that a new compilation CD was released today in
Canada and that Jaco is on it...It's a compilation (4CD's) of the grestest
moments of the Montreal jazz festival and Jaco is part of it...I don't have
any info at the moment on which song they've chosen or a catalog # it...But
I'm going to montreal monday to see Mike Stern play and I'll get the
information for you...
You can visit http://www.montrealjazzfest.com/engl/en-04r.htm to see what
I'm talking about...
The Bass Wire: Summer NAMM 1999
July 23-25, 1999, Nashville Tennessee
New from Fender: The Jaco Pastorius Jazz Bass
August 1,1999
With an unprecedented approach to playing to the electric bass, Jaco Pastorius
took the technique of using false harmonics as a melodic device and revolutionized
the world for an entire generation of bass players that would follow in his
wake. In his own unique fashion, Jaco came to personify fusion music itself,
turning rock audiences on to a new music by providing the links between Jimi
Hendrix and John Coltrane, Duke Ellington and Charlie Parker, Bob Marley and
James Brown, Johann Sebastian Bach and the Beatles. And he did it all with his
Fender Jazz Bass.
To commerorate the influence of Jaco has had on bass players worldwide, Fender
presents the Jaco Pastorius Jazz Bass. This is a faithful replication of the
favored Fender bass in Jaco's trusty arsenal, which he used for touring with
his dynamic jazz lineup Weather Report, and in the studio with such artists
as Joni Mitchell. every detail of Jaco's bass has been incorporated into his
new Artist Signature guitar, which will be produced at Fender's state-of-the-art
manufacturing facility in Corona, California. The Jaco Pastorius Jazz Bass features
a '62 style Jazz body with a 3-color Sunburst finish, special neck shape, P-Bass
knobs, and comes with a brown tolex Fender case, strap and a cable. True to
Jaco's preference, the pickgaurd comes as a separate piece, included in the
case. And for the aboslute "Jaco" enthusiast, Fender offers a fretless version
with a clear-finish coated fingerboard and fretline markers. US Manu. Suggested
Retail Price is $1,799 with frets, and $1,899 for the fretless model.
Belgium Tribute Concert:
Subj: Jaco and his kids
Date: Friday, August 13, 1999 8:41:26 PM
This week I went to see a concert named 'the Jaco Pastorius Project'. A 32 -men
big band with two bass players and two drummers. The bass players where Michel
Hatzigeorgiou (the best Belgian bass player, playing on a fretless fender etc.
and has played together with Jaco several times) and Felix Pastorius. The two
drummers where Stephane Galland (the best belgian drummer) and Julius Pastorius.
It was really a great concert with Peter Graves as the director, Toots Thielemans,
Othello Molineaux on steel drums and all the very best belgian jazz musicians.
At a certain moment i thought Jaco was again alive.
Michel Colombier
Sept 99
"Michel Colombier" is being re-released on CD by a French label .... this has
been "LP only" since it came out in 1979 .... contains a lot of great Jaco,
including the exceptional performance on the ballad "Dreamland" .... possibly
available in Japan .... hopefully to hit the US market soon
December 21, 1999
From the UK:
Only Jaco news here
accross the pond is that Bassist magazine - UK publication had a pre
millennium best 100 bass player albums. Jaco was second and third with his
first solo album and Heavy Weather respectively. Nice write up about both
performances.
Incidentally Blood Sugar Sex Magic by The Chilli Peppars was no 1 with of
course Flea. Jaco also was featured in the the top 20 with Hejira but
surprisingly not Mingus. There was also a touching acknowledgement from
Ingrid delighted to see Jaco's music still being held in such high esteem.
Many of the other bassists - as bassists themselves voted - John Paul
Jones, Mick Karn. Mark King etc all mentioned Jaco as the influence which
just goes to show the immense impact even on players whose subsequent
musical genre could be quite different.
There are two Jaco Pastorius models currently in production.
The Signature series is made in the Fender US factory. It is not a "distressed"
piece, and lists for about
$1700. The second is a Custom Shop bass, the Tribute bass. This bass does not
have Jaco's name
on it anywhere, is made to order, and lists for about $3700. This is further
confused by the fact that the
Custom Shop in the past has had at least a couple of Jaco bass runs that were
ordered by private
companies. I believe a guitar store in LA had them make a run of 25 basses which
were "inspired" by his
bass, and called a Jaco bass, at least by them.
John
July 16, 2000
Possible bad news:
apparently from a German Jazz magazine (JazzThing):
````````````````````````````````
"Notes from New York"
by Bill Milkowski:
WHITHER JACO TRACKS: Reissue producer Bob Belden reports a
controversy surrounding his recent remastering job on Jaco
Pastorius' self-titled Epic debut from 1976. Though Belden had
found some additional master tapes in the Sony vaults -
including alternate takes of Jaco signature pieces like "Donna
Lee," "Portrait of Tracy" and "Continuum" as well as previously
unissued recordings of "Havona" and un untitled studio jam
with drummer Lenny White, pianist Herbie Hancock and
percussionist Don Alias - the original producer of that break-
through album, Bobby Columby (currently a Sony exec based in
Santa Monica), has intervened and squashed their release.
There's no telling when or if fans and collectors will ever
hear this rare Jaco material left to linger in the vaults.
This just goes to show what happens when a guy who used to have
a career lets his ego get in the way of artistic expression.
````````````````````````````````
What's with this last sentence, and the personal attacks??
The above text reads more like personal animosity toward Colomby than anything
else.
Hi Tom
Some intriguing info from the UK which may affect others. I purchased the
new remastered CD of Jaco's first album only to find that the 6/4 Jam
clocked in at 4.20 - I double checked and rang Tower Records who kindly
agreed to time one of the batch that they'd received - 4.20 again. This
seems extremely bizarre - I have not yet heard the full 7.45 version but
the 4.20 version seems to fade out quite naturally so I really am puzzled.
Tower UK will contact the rep re. this release and I will keep you up to
date.
How bizarre.
Oct. 2000
Did you see the new Bass Player? There is a story in there about the JP reissue.
Columby gives his side of the story, why he left Havona off it. He says that
it sounded more like a demo, and for reasons we have discussed before regarding
inferior material diminishing Jaco's stature, he thought it was best to leave
it off. In that light its understandable, no matter how much we want to hear
it. He said that it will be on Sony's MP3 site next year, so we will get to
hear it.
The 1979 LP "Manolo" by Manolo Badrena has been re-issued on CD (2000) Jaco
plays on one track. I haven't heard this whole album, but I'm told it's similar
to the Jaco track; lots of multi-tracked heavy percussion parts.
E-mail: tomstr@aol.com