A couple of years ago I called the local NPR station (a jazz-focused station, and NOT "Lite Jazz") to request that they play anyting by Jaco on December 1. The "music director" said they couldn't play anything like that because it didn't fit the format of "swingin' jazz" they played. Two days later they featured a guitarist's new CD. The song they were playing featured a fretless electric bass solo by someone who was wearing their Jaco influence so strongly that it was almost a clone... I haven't contributed to the station since then.
Jaco's influence is immeasurable. Not just on bassists, but on the way the whole world, even non-musicians, think of the bass, its role, and its breadth of application. When you hear singing fretless bass on un-hip TV commercials you know that Jaco's influence has permeated popular music. Like Mr. Hendrix with the electric guitar, there is simply two worlds for the electric bass- the one before Jaco Pastorious, and the one after him.
Too bad he left us so soon, and that he couldn't deal with his problems. It's best to remember those deadly stuttering 16th note grooves, the lyrical singing sound of The Bass of Doom, the outrageous audacity in the playing, the sensitive support of the Joni Mitchell's voice, and the refreshing approach to the instrument.
John