This looks like a typical troll thread where the OP is never to be seen again after the first post: The OP's laughter is most likely directly proportional to how lengthy and serious your replies are. Bonus if it creates arguments.
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could you please sell me on Jaco?
- Thread starter Rumbledore
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Why should anyone sell you on anyone? If you don't like it, you don't like it. Appreciate the artistry, though.
And Marcus Miller. During a (Tavis Smiley?) interview Marcus went into some detail about how Jaco inspired him to think differently about the bass, which caught my attention & I looked him up. I've seen Jaco's name on Weather Report credits, but never looked deeper till I heard Marcus' praise.
Jaco's debut album is an impressive statement - look who was on it (source=Wikipedia):
By 1968–1969, at the age of 17, Pastorius had begun to appreciate jazz and had saved enough money to buy an upright bass. Its deep, mellow tone appealed to him, though it strained his finances. He had difficulty maintaining the instrument, which he attributed to the humidity in Florida. When he woke one day to find it had cracked, he traded it for a 1962 Fender Jazz Bass.[3]
In his teens he played bass guitar for Wayne Cochran and the C.C. Riders.[4]
In the early 1970s, Pastorius taught bass at the University of Miami, where he befriended jazz guitarist Pat Metheny, who was also on the faculty. With Paul Bley, Pastorius and Metheny recorded an album, later titled Jaco(Improvising Artists, 1974).[5] Pastorius then played on Metheny's debut album, Bright Size Life (ECM, 1976).[6] He recorded his debut solo album, Jaco Pastorius (Epic, 1976) with Michael Brecker, Randy Brecker, Herbie Hancock, Hubert Laws, Pat Metheny, Sam & Dave, David Sanborn, and Wayne Shorter.[7]
I think for the time, his innovative style became the defacto name drop. He's definitely insanely talented and a LANDMARK bass player, but I'm in the same boat.
I think this is something most people go through. His work is massive, but just like free form jazz, some people just don't get it and that is totally fine.
The absolute best way to appreciate a bass player you dont get is to be able to play their stuff note for note. Cliff Burton, Steve Harris, Chic, Abba, Bootsy, Berry Oakley, EWF, KC and the Sunshine Band, Bruno Mars, Lennie Kravitz....etc. Each of those players taught me stuff i didnt appreciate about their playing.
I dont do Vic Wooten, Les Claypool, Lemmy and Marcus Miller but I appreciate them.
I dont do Vic Wooten, Les Claypool, Lemmy and Marcus Miller but I appreciate them.
You did say YMMV
I...don't know what to say to the suggestion that Jaco's playing has 'nothing melodic' about it. Debate would be pointless. We're just way too far apart.
Aside from that, people should listen to the rhythmic accuracy of tracks on the Weather Report stuff. Listen to Birdland and know what 'in the pocket' really means.
As has been mentioned, check out all his stuff with Joni as well.
I wonder if music like this would be uninspiring and dull, it must be because it was written in the early 1700's...
Jaco appreciated this kind of music and did a blazing version of Chromatic Fantasy on Bass.
Open your ears and minds gentlemen!
Jaco appreciated this kind of music and did a blazing version of Chromatic Fantasy on Bass.
Open your ears and minds gentlemen!
I think some of his most beautiful work is on Pat Metheny's Bright Size Life album. Lyrical, supportive, not at all flashy and just all around great bass playing.
OP: If you'd like something scholarly there's Invalid Link Removed.
But I doubt that'll sway you either. Some of his playing, solo pieces especially, doesn't appeal to me, either but I admire the talent and skill he exhibits. His comping with Joni Mitchell and with Weather Report is musically stellar and much to my liking.
The best I can really offer is to try to transcribe or play his ensemble work to grow an understanding and appreciation for it. When you've got some heavy hitters like those named in some posts here who are singing a guy's praises it's worthwhile to dig into the music to see why they do. Honestly, we can get it without "getting" it. I've come around to liking a lot of music I once detested but opera is not in there. I just don't "get" it.
But I doubt that'll sway you either. Some of his playing, solo pieces especially, doesn't appeal to me, either but I admire the talent and skill he exhibits. His comping with Joni Mitchell and with Weather Report is musically stellar and much to my liking.
The best I can really offer is to try to transcribe or play his ensemble work to grow an understanding and appreciation for it. When you've got some heavy hitters like those named in some posts here who are singing a guy's praises it's worthwhile to dig into the music to see why they do. Honestly, we can get it without "getting" it. I've come around to liking a lot of music I once detested but opera is not in there. I just don't "get" it.
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While y'all are convincing this guy to like Jaco, could one of you tell me the best bass for metal?
IMHO, as with most innovators, its not so much about the music as the attitude. Jaco had an 'all in' attitude that meant he refused to be constrained by the traditional boundaries of the role of the instrument. He did things with the bass guitar that were just not supposed to be done with the bass guitar. Remember that at the time the electric bass was still a relatively new instrument - for all practical purposes little more than 20 years old. He applied a 'total' approach to exploring the possibilities. He looked to brass and cello for ways to break through traditional barriers in terms of line structure, harmonic, rhythmic and melodic possibilities, and he had the drive to develop the techniques necessary to realise the ideas. Whether or not you like the results is not important. What is important is the 'so what' attitude to pushing the limits, and his determination to pursue the path. Having strength in one's convictions is no less valid today than it was then. YMMV.
This should answer the question asked. At that time no one played an electric bass like this. It's rhythmic, it's percussive, he jumps between melody lines and counterpoint with ease. He did reinvent bass playing at that time.
If you're not already sold on Jaco, there is very little that a forum containing a lot of self-proclaimed fanboys can do for you. Much like asking this question in ''insert band name here" forums.
A different style, a different time, a different sound and a far different kind of guy.
A different style, a different time, a different sound and a far different kind of guy.
As with most scientists, it takes education (in this case on the musical field) to really appreciate his absolute genious.
gregbackstrom
These aren't stock curves--things move around!
Apparently your appreciation for exquisite musicianship (and grammar). All kidding aside, just listen. If you don’t understand what he’s doing, come back to it after you’re more seasoned. Here’s a tip ... Try playing his stuff. Guaranteed instant appreciation!
When I was younger I really didn't get Jaco either. I recognized that he had chops, but thats it. It was years later that the light bulb went off in my head with regards to what he was doing and just exactly how great he was.
While he probably isn't my favorite bass player, I do consider him to be the best that ever lived and the best that ever will be...
You can lead a horse to water, but you can’t make him drink.
