ETH 333949H JACO PASTORIUS Jaco Pastorius LP

Total Page：16

File Type：pdf, Size：1020Kb

ETH 333949H JACO PASTORIUS Jaco Pastorius LP

RECORDS PRESENTS... "The greatest bass player in the world." That's how the virtuostic electric bassist John Francis Patorius III, better known by his stage name Jaco Pastorius, would introduce himself to people. Looking back on his long and eclectic discography, a legitimate case could be made for such a claim. Acclaimed and celebrated for his time in the jazz fusion ensemble Weather Report, Pastorius sought to elevate the role of the bassist, and was equally well known for his wild stage antics and presence, as for his revolutionary bass techniques. (Pastorius is credited for inventing the fretless electric bass, and for pioneering the use of syncopated "ghost note" basslines as well as false harmonics.) JACO PASTORIUS Frequently lost in the shuffle of his celebrated work JACO PASTORIUS with Weather Report is Pastorius' own solo material, which prominently featured his innovative A1. Donna Lee bass stylings. His solo debut (Titled after his own A2. Come On, Come Over stage name) was released just prior to joining A3. Continuum Weather Report, and featured a remarkable lineup A4. Kuru / Speak Like A Child of jazz legends like Herbie Hancock, Randy A5. Portrait Of Tracy Brecker, Wayne Shorter, and David Sanborn, among many others. At the center of Jaco Pastorius of course, is Jaco himself, providing bass virtuosity B1. Opus Pocus to a selection of audacious arrangements, and B2. Okonkole Y Trompa compositional chops that were mature well beyond B3. (Used To Be A) Cha-Cha his years. (Pastorius was only 24 at the time of the B4. Forgotten Love album's release.) ARTIST: Jaco Pastorius TITLE: Jaco Pastorius FORMAT: LP CATALOG: ETH333949H-LP STREET: 02/16/18 LABEL: 8th Records.

Copy Link

Recommended publications

Jaco Three Views of His Secrets
26 bassplayer.com /january2016 Jaco Three Views of his secreTs By e.e. Bradman About hAlf An hour into the new documentary Jaco, there’s a scene that reflects a cru- cial aspect of the Jaco Pastorius legend. It’s the fall of 1975, and Blood, Sweat & Tears drummer Bobby Colomby has flown a virtually unknown Jaco from Ft. Lauderdale to New York to record his debut with jazz luminaries Hubert Laws, Herbie Hancock, Don Alias, Wayne Shorter, and Lenny White. The product of those sessions, the soulful, eclectic stunner simply titled Jaco Pastorius, would shake the bass world to its foundations, of course, but the album cover—with its bold lettering across a no-nonsense black & white portrait by Don Hunstein—might suggest that the unsmiling young maestro was overly serious about making a good first impression. That wasn’t true at all. “It was wild,” says Return To Forever drummer Lenny White of the sessions in October 1975. “Basically, we would play, do a take, and go outside and play basketball.” “We could have done it on bicycles with microphones, and he would have played it perfectly,” remembers producer Colomby, still impressed four decades later. Far from nervous, in fact, 23-year-old Jaco was natural, relaxed, and in his element. “I walked into the studio, and Jaco’s eyes were lit up because he had found home—this was the level he belonged on,” recalls trombonist/musical direc- tor Peter Graves. These quintessential Pastorius hallmarks—soul- ful virtuosity, athletic showmanship, and superhu- man technique, with confidence to burn—are central bassplayer.com / january2016 27 CS JACO JEFF YEAGER Robert Trujillo themes of Jaco.
[Show full text]
The Object of This Paper Is to Prove That the Importance of Jaco Pastorius
What Does Donna Lee Mean? An Analysis of the Construction of Meaning in Music Uri González Uppsala Universitet Institutionen för musikvetenskap C-uppsats Ht 2004 Handledare: Lars Berglund Abstract This essay examines the construction of the meaning of bassist Jaco Pastorius’ solo on Charlie Parker’s composition Donna Lee (Pastorius 1976) according to musicologist Jean- Jacques Nattiez’ semiological tripartition theory. After the application of Nattiez’ approach, the following conclusions can be established: 1. At the time of its conception, 1976, Donna Lee represented both a big step forward in the developments of the instrumental possibilities of the electric bass. In its refusal to submit to exclusively rhythmic tasks it gradually became an increasingly soloistic voice. This arrived to the point where it actually was conceivable for a bass player to take upon a three chorus long solo on a classic jazz standard. 2. Despite this innovative spirit which drives Pastorius artistic output, his Donna Lee pays hommage to the jazz tradition and to the group of stylistic constraints that today characterize what is known as bebop. 3. The final meaning of Donna Lee and of any other musical text goes beyond its historical vicissitudes and its immanent structures. Meaning is not imposed by the exterior but is constructed by the individual mind in a perception that is creative and over-productive in a circular dialog with the environment. The essay will also make reference to the theories of musical semioticians and cognitive psychologists such as James Gibson, Robert Hatten, Ruben Lopez Cano, José Antonio Marina, among others. Table of contents ABSTRACT ............................................................................................................................
[Show full text]
“I Felt a Kind of Sweet Giddiness When I Met Mingus.”
LONDON a MEMPHIS a EL PORTAL APRIL 2016 Issue 269 FEATURES 40 TRACEY THORN TheEverythingButTheGirl singer speaks to Andrew Male aboutthehighsandlowsoflife as an indie icon, and her new career as an acclaimed author. 46 FIELD MUSIC After12yearsofDIYjazz-pop- soul,andaheartyendorsement fromPrince,istheworldfinally ready for the Brewis Brothers? Ben Myers find out. 50 DAVE DAVIES TheyoungestKinkbrother takesMarkPaytressona journeyintohisremarkable musicalpast,andapresent world of psychic magick and extraterrestrials. 58 MICHAEL CHAPMAN Celebrating 50 years on the road, the hard-as-nails Yorkshire singer-songwriter givesBenThompsonamusical survival masterclass. 62 JONI MITCHELL Howdida’60sacousticfolkicon reinvent herself and confound her critics in the 1970s? David Frickewatchesthechanges. COVER STORY 70 IGGY POP On the eveofhisfarewellfrommusic, Mr James Osterberg speaks to KeithCameronabout50years on the rock’n’roll front line. Plus: Swan-song collaborators Josh Homme, Matt Helders andDeanFertitadiscussthe method and madness of Iggy old and new. “I felt a kind of sweet giddiness whenImetMingus.” JONIMITCHELLLOOKSBACKONTHE LIBERATIONOFHERJAZZYEARS.P62 Henry Diltz MOJO 3 Desert blooms: Joni Mitchell takes the air outside Las Vegas, Nevada, May 1978. MOJO 63 AN DOWN THE BLOCK OUTSIDE THE BAKED POTATO ON TUESDAY 3. Named after the main dish on the menu, the small, venerable Los Angeles jazz d by pianist Don Randi in 1970 – hosted a popular residency by a combo of top, ers who also happened to be among the busiest session musicians in town. The r, saxophonist Tom Scott, made records with John Coltrane’s producer Bob Thiele ing business in TV and movie scores. But the other cats were his equals in resumé. Sample was a founding member of hard-bop-turned-R&B stars The Crusaders; Bennett grew up in the bebop era and worked with singers Peggy Lee and Ella ummer John Guerin played with Thelonious Monk, Lou Rawls and Linda Ronstadt late line-up of The Byrds.
[Show full text]
Safaris to the Heart of All That Jazz
Safaris to the heart of all that jazz.... JoniMitchell.com 2014 Biography Series by Mark Scott, Part 6 of 16 In January of 1974, Joni began an extensive tour of North America with the L.A. Express, wrapping up with three concerts at the New Victoria Theatre in London, England. The final concert at the New Victoria was videotaped and an edited version was broadcast on the BBC television program The Old Grey Whistle Test in November of 1974. Larry Carlton and Joe Sample were playing with The Crusaders at the time and both opted not to go on the road with Joni and the L.A. Express. Guitarist Robben Ford replaced Larry Carlton and Larry Nash filled in for Joe Sample on piano. In a 2011 interview for JoniMitchell.com, Max Bennett said that although the pay was good for this tour, the musicians could have made more money playing gigs in L.A. and doing session work in the recording studios. Max said that the musicians loved the music, however, and that they were treated royally in every way throughout the tour. Excellent food, first class accommodations, limousines, private buses and private planes were all provided for the band’s comfort. Max also made a point of mentioning the quality of the audiences that attended the concerts. Attention was focused on the performances so completely that practically complete silence reigned in the theaters and auditoriums until after the last note of any given song was performed. For Max Bennett, “As far as tours go - I've been on several tours - this was the epitome of any great tour I've ever been on.
[Show full text]
Joni Mitchell, Polar Music Prize Laureate 1996 in Her Breakthrough As a Singer, Which Came in 1968 When She Was Living in New Yo
Joni Mitchell, Polar Music Prize Laureate 1996 In her breakthrough as a singer, which came in 1968 when she was living in New York, Joni Mitchell displayed – e.g. in albums like Clouds, the style of which was influenced by rock and deeply rooted in folk music – her early ideals of composition and arrangement: melodic simplicity, economy of instrumentation and subtlety in the use of electronic instruments. Brittle folk melody, however, was quickly to be superseded by a more forceful idiom in the boundary zone between jazz and rock, inspired partly by her collaboration with guitarist and singer David Crosby and, later on, with experimental musicians, especially from the West Coast. Her piano playing is set off by an instrumentation of gathering density, tinged for example by the addition of wind instruments. With Woodstock, which if anything is a hymn to the contemporary Love and Peace movement, she achieved total international recognition. In a remarkable partnership in 1979 with one of her great mentors, the legendary bass player Charlie Mingus, Joni Mitchell moves closer to jazz again, and her next LP, Mingus, gives proof of her astonishing capacity for transcending musical boundaries and, on that particular occasion, combining swing, modern jazz and folk music with a dash of straight rock’n'roll. The list of players in itself illustrates the link between rock and jazz: Herbie Hancock, Wayne Shorter, Jaco Pastorius and Peter Erskine. More recent, illuminating compositions like Chalk Mark In A Rain Storm (1988), Night Ride Home (1991) and the album Turbulent Indigo (1994) bear witness of an unfailing capacity for breaking new artistic ground.
[Show full text]
Annotated Bibliography – John Francis Pastorius III – Aka “Jaco”
Annotated Bibliography – John Francis Pastorius III – aka “Jaco” Books Milkowski, Bill. Jaco : The Extraordinary Life of Jaco Pastorius, Backbeat Books, San Francisco, 1996 “My name is John Francis Pastorius III, and I’m the greatest electric bass player in the world.” This is the opening statement of this 300+ page book. It is the only biography available on Jaco and it portrays a personal account of the good, the bad and the ugly parts of his life. For me it was fascinating to get my first glimpse into the mind of such a great innovator of jazz. Milkowski writes in a true and thoroughly entertaining way covering everything from the early days in Florida to Jaco’s sad and premature demise. It contains a chapter entitled 63 views of a secret (reference to track entitled “3 Views of a Secret”) where musicians, colleagues and friends reflect on the life and times of “the world’s greatest bass player”. It did spurn some controversy however in regards to its authenticity and is not endorsed by the Pastorius family. Compact Discs – Audio Biography Bobbing, Bob. Portrait of Jaco: The Early Years 1968 – 1978, Holiday Park Records, Florida, 2002 This 2 CD disc set and accompanying booklet is an amazing collection of personal accounts and audio clips recorded by friend Bob Bobbing. Preserved for 20 years and then released as a tribute to the man, this audio biography is endorsed by Jaco’s family (unlike Milkowski’s book – Jaco) and includes footage of Jaco’s father, first wife Tracey Lee, as well as personal accounts by Matheny, Zawinul, Hancock and many more.
[Show full text]
Weather Report Jaco Pastorius Black Market Live 8 30 Complete and Accurate Bass Transcription Whit Tab Sheet Music
Weather Report Jaco Pastorius Black Market Live 8 30 Complete And Accurate Bass Transcription Whit Tab Sheet Music Download weather report jaco pastorius black market live 8 30 complete and accurate bass transcription whit tab sheet music pdf now available in our library. We give you 5 pages partial preview of weather report jaco pastorius black market live 8 30 complete and accurate bass transcription whit tab sheet music that you can try for free. This music notes has been read 7745 times and last read at 2021-09-23 05:41:35. In order to continue read the entire sheet music of weather report jaco pastorius black market live 8 30 complete and accurate bass transcription whit tab you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bass Guitar Tablature Ensemble: Musical Ensemble Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Weather Report Jaco Pastorius Black Market Live In Germany Complete And Accurate Bass Transcription Whit Tab Weather Report Jaco Pastorius Black Market Live In Germany Complete And Accurate Bass Transcription Whit Tab sheet music has been read 5985 times. Weather report jaco pastorius black market live in germany complete and accurate bass transcription whit tab arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-20 22:20:31. [ Read More ] Weather Report Jaco Pastorius Birdland Live Midnight Special Complete And Accurate Bass Transcription Whit Tab Weather Report Jaco Pastorius Birdland Live Midnight Special Complete And Accurate Bass Transcription Whit Tab sheet music has been read 5347 times.
[Show full text]
A Method for Electric Bass Improvisation Via a Detailed Analysis of the Improvisational Techniques of Jaco Pastorius from 1967-1968
Edith Cowan University Research Online Theses : Honours Theses 2007 A method for electric bass improvisation via a detailed analysis of the improvisational techniques of Jaco Pastorius from 1967-1968 Aaron Spiers Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Performance Commons Recommended Citation Spiers, A. (2007). A method for electric bass improvisation via a detailed analysis of the improvisational techniques of Jaco Pastorius from 1967-1968. https://ro.ecu.edu.au/theses_hons/1256 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1256 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
[Show full text]
Says Ben Vereen of Bassist/Composer Tom Kennedy
Tom Kennedy - Points of View.pdf Saved to Dropbox • Jun 3, 2017, 2D07 PM “Behold. The master at work,” says Ben Vereen of bassist/composer Tom Kennedy. He’s not exaggerating, as Kennedy exhibits his mastery of the instrument and of composition with Points of View (2017). Kennedy plays electric bass, acoustic bass and keyboards. Personnel are Dave Weckl, drums; Bill Evans, soprano sax; Charles Blenzig, piano; Karla Harris, vocal on “New July”; Wes Ritenour, drums; Chuck Loeb, guitar; Bob Fanceschini, soprano sax, tenor sax; Lee Ritenour, guitar; Obed Calvaire, drums; Nick Marcione, trumpet; Randy Brecker, trumpet; Mike Stern, guitar; Richie Morales, drums; and Bob Malack, tenor sax. Weckl and Kennedy begin “The Dark” in emphatic fashion, injecting a slight Weather Report touch. After the intro, the mood changes to something more mellow. Evans takes lead, setting the mood for an evening of romance. The tenor expresses freely, with Weckl and Blenzig offering support. Kennedy evokes memories of Jaco Pastorius when playing in the background. During his middle solo, he makes the instrument talk, much like a suitor saying sweet nothings to his darling. At just above eight and a half minutes, it’s the second-longest track in the set. That gives the listener ample time to enjoy each musician individually, and the quartet as a whole. Lee Ritenour takes point on a song he wrote, “Just Listen.” His son, Wes, is on drums. The tune is like a hybrid of something contemporary, typical Rit, and a throwback to what one might expect from Wes Montgomery, one of Ritenour’s heroes.
[Show full text]
Le Monde De Weather Report
dossier LE MONDE DE Airto Moreira Peter Erskine Jaco Pastorius Wayne Shorter Joe Zawinul Manolo Badrena Dom Um Romao Miroslav Vitous Victor Bailey Alphonso Johnson Mino Cinelu Le clap de fin de Weather Report a eu lieu il y a plus de trente ans, mais la musique de Dossier réalisé par ce groupe emblématique d’une époque où tout Michel Benita semblait possible n’a pas pris une ride, et son Franck Bergerot Peter Cato pouvoir de fascination est toujours aussi grand. Doc Sillon Il était donc temps d’explorer à nouveau Lionel Eskenazi les richesses du monde de Weather Report, Julien Ferté Frédéric Goaty où l’on croise quelques-uns des meilleurs Stéphane Ollivier musiciens de ces cinquante dernières années. Jean-Pierre Vidal PHOTOS : X/DR 16 Jazz Magazine Numéro 691 Février 2017 Février 2017 Numéro 691 Jazz Magazine 17 dossier Le monde de Weather Report sommaire repères 1970 Le 10 1981 Jaco décembre, Joe Pastorius et 20 Joe Zawinul 32 Peter Erskine Zawinul annonce Peter Erskine (1966-1970) Silence, Le maître du temps dans Downbeat s’en vont. on tourne : naissance qu’il s’associe 33 d’un univers Joe Zawinul avec Wayne 1985 Joe Zawinul (1985) Shorter et Miroslav enregistre 22 La parole à la musique Wayne Shorter Vitous pour créer “Dialects” et Montreux, 1976 : (1969-1970) un nouveau Wayne Shorter Wayne Shorter et Joe Atmosphères, 34 The Zawinul Zawinul, l’insécable groupe dont “Atlantis”. atmosphères... : Syndicate duo créatif de le batteur sera les temps changent Les tournées du patron 1986 Juin : Weather Report. Alphonse Mouzon. sortie de l’ultime UN MOUVEMENT album de 24 Galerie photo 36 Wayne Shorter 1971 Mai : sortie Weather Report dans (1985...) Retour vers du premier album, Weather Report, tous ses états d’autres futurs PERPETUEL “Weather Report”.
[Show full text]
The Impact of Technology on the Role and Function of the Bass in Jazz
The Impact of Technology on the Role and Function of the Bass in Jazz Peter Dowdall Thesis submitted for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide February 2012 TABLE OF CONTENTS Title Page ..................................................................................................................... i Table of Contents ........................................................................................................ ii List of Figures.............................................................................................................. iii Abstract........................................................................................................................ vii Declaration................................................................................................................... viii Acknowledgments........................................................................................................ ix Introduction. Project Summary, Literature Review, Theoretical Framework, Chapter Outline...................................................................................... 1 Chapter 1. The Bass and the Early Mechanical Roots of Jazz (1915-1930)............... 14 Chapter 2. The Bass, Technology and the Development of the Rhythm Section (1930-1945).................................................................... 45 Chapter 3. The Spoils of War and the Jazz Bass: Tape Recorders and Editing (1945-1960)..............................................................................................
[Show full text]
Clinic : Workshop on Arranging
Arranging Talk - 60 mins (more speciﬁcally from pop to jazz) PLAY THEM YELLOW (COLDPLAY) as they’re walking in PLAY MY VERSION INTRO & PERSONAL HISTORY !!• started piano at 4, focus on classical music !!• injured arm in my teen years, got introduced to jazz !!• didn’t immediately connect; players like Keith Jarrett, Chick Corea & !!Renee Rosnes won me over because of the classical sound in their !!playing !!• went to Humber College; still couldn’t do serious playing because of my !!injured arm; discovered composition; fell in love with the music of Kenny !!Wheeler, Maria Schneider & Jim McNeely (classical/jazz bridge) !!• also loved “mainstream” (pop/rock) music **pivotal moment – going to the Montreal Bistro and hearing Geoff Keezer play solo piano for a rapt audience, including songs by Radiohead and Bjork. Describe experience. PLAY “VENUS AS A BOY” - Björk version then Geoff Keezer (*print Venus As a Boy and hand out???) PLAY DIRTY LOOPS “BABY” (JUSTIN BIEBER) & “ROLLING IN THE DEEP” (ADELE) HOW DID I LEARN? !LISTENING & TRANSCRIPTION !!• other people’s arrangements that you love! • what did they preserve from the original song? • what elements did they latch onto and make distinctive? • have they changed the feel/style? • have they considered the lyrics? HOW HAVE OTHERS LEARNED? !METHOD BOOKS !THEORETICAL PRINCIPLES WHAT ARE THE BUILDING BLOCKS OF MUSIC THAT WE CAN UTILIZE TO CREAT A UNIQUE ARRANGEMENT? ! MELODY !!• this is usually the one thing I don’t drastically change. It feels !!foundational and also helps people to recognize
[Show full text]