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Does anyone not enjoy Jaco?

“Well, at least they’re still talkin’ ‘bout me!”

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I find it fascinating that people are simultaneously dismissing him as unquestionably one of the greatest musicians to ever touch a bass, whilst also arguing that he could have been so much more in a different genre.

He played what he wanted to play and that's what made him a legendary idol. He played the bass as he saw it. Not to sell records or fill stadiums.

Musical skill is musical skill. I wonder the narrative if he was the bassist of the Rolling Stones or Iron Maiden as opposed to a Jazz sub-genre in a time of Jazz decline.

I judge a bassists skill by what I can't play. I can play Steve Harris riffs and solos all day long, I can cop a good Jamerson, I can't play a single Jaco song.

Don't like Jazz? Cool. Don't like Jaco's style? Cool too. Think Jaco is not a good musician and not superior to 99% of all bassists in talent, technical ability and theory knowledge? Delusional.

It's also my opinion that he was great because he was a jazz musician. I don't think he would have developed such advanced technique and complex arranging skills if he was playing another genre. Jazz is one of these genres (along with classical music) that pushes you to be a master. I'm not saying you can't be a virtuoso in rock, however I don't think rock pushes you to be one (especially on bass).

And also, I think it's a reciprocal thing, jazz makes virtuosos, and virtuosos are drawn to jazz because of its challenging nature. So if Jaco didn't play jazz, there would have been no Jaco at all.
 
@TristanFunky
I haven’t gone back over the thread pages to see if anyone’s suggested this, but if not, you might want to check it out.

It’s written by jazz critic and writer Bill Milkowski. I think it’s very good. It’s pretty plain spoken, IMO. It’ll also give some insight on what and why he said and did things the way he did. Not an angel, by any stretch, but most geniuses aren't. I wouldn’t condone all he did, but he had some real issues going on. It doesn’t detract from being the stellar musician he was. I’ve re-read it many times. Your library probably has it if you want to save money. :thumbsup:



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When he came on the scene, a lot of what he was doing was not just "good", but so visionary that it was incomprehensible. For example, I played the recording of "Portrait of Tracy" for a sax player in my band to hear, and his response was, "That's an electric piano, right?"
Some of the replies on this thread suggest to me that 50 years later, he can STILL be incomprehensible. And therefore, unliked.
Having said that, I acknowledge that everything is a matter of taste.
 
Well, these days, for our repertoire, I am working more on my groove & pocket. I'm checking out some new/old school R&B stuff like Anderson Paak, Avant, Steve "Stone" Huff, Charlie Wilson, and more.
So Jaco's tracks are not what I select when I fire up YouTube Music or Spotify.

But I certainly do go there, and when I do, I get a World-Class lesson and immersion into just how far the (fretless, 4-string) Bass Guitar can be taken.
So even though it is perfectly acceptable for one not to LIKE his output...
Hey--He CANNOT be denied.
Nope.
No Sir.
I don't think so!
NOT. So say I.
:roflmao:
 
@dougjwray
In the Jaco book, one of his band mates in Wayne Cochran group said Jaco was starting to use his harmonics and chords because they had no keys player. Jaco was able to experiment.
I also found this grindy 1972 WC recording with Jaco on it. It’s not the best fidelity by far and you can barely hear the vocalist, but you can hear you know who pretty well. I think it’s pretty cool especially that little call and response thing he does with the guitarist at about 3:10.
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