Here it is guys, my extended essay on Jaco & Stanley Clarke

Discussion in 'Miscellaneous [BG]' started by Sheep Man, Nov 1, 2001.

  1. Ok, so this is just my initial draft, I need to revise it, as well as write up the abstract & the bibliography.

    And before anyone bites me for what I have written about Jaco...don't worry. My supervisor said it'd be a much better idea to point stuff out on a transcription instead of times within the song, and then make a note somewhere telling the examiner that if they want, I have MDs of them to send off if they feel so inclined to have a copy.

    And it just so happens that is the only place I've been able to find any Jaco or Stanley Clarke transcriptions, and it also just so happens that there are a bunch of Jaco transcriptions, and only 1 song of Stanley Clarke's that I discussed can be found there.

    If any of you know where else I can get some sheet music for Stanley Clarke's music, or, more specifically the ones I've discussed in my EE, I'd really appreciate it. :)

    And so here it is...
  2. john turner

    john turner You don't want to do that. Trust me. Staff Member

    Mar 14, 2000
    atlanta ga
    great - i would say pino palladino, micheal manring, tony franklin, dann glenn and jeff berlin are some players that were influenced directly by jaco. i don't know if i would use vic for that one too much. i mean, yeah, he was influenced by him, every one was to some extent, but vic's more of a stanley cat imo.

    perhaps you could mention stanley's extensive soundtrack work, and how his experience as a bassist translated over to his ability as an arranger - jaco also was quite a good arranger, on joni mitchell's "mingus", jaco arranged much of the song, including composing the horn parts.

    overall, looks pretty good. :D
  3. OoOh...
    Kickarse, thanks JT! :)

    In that little post you've helped me an ass load more than my supervisor has over...uuh...however many months it's been. :oops:
  4. Looks pretty good SM, but who is Jaco?

    A great writing skill I learned in school was to let the paper sit for a day or two and then go through it and see if there is any "fluff" that can be removed.

    Good Luck
  5. john turner

    john turner You don't want to do that. Trust me. Staff Member

    Mar 14, 2000
    atlanta ga
    cool :D glad to help.
  6. Hmmm...
    I don't get what ya mean by "but who is Jaco?", gp.

    As for removing any "fluff"...well, I'm going to have to do that, because the examiner "is not obligated to read beyond the 4000 word mark". Blah. :oops:
  7. membranophone


    Mar 19, 2000
    Madison, WI
    Overall, I think your paper was pretty decent.
    However, In formal writing, the first and second persons are NEVER used. Referring to the reader as "you" or the author as "I" makes the paper seem less formal. I only noticed this in a few instances in your paper, so it should be an easy fix.

    Good job! [​IMG]
  8. Who is Jaco ? Just a joke.

    I like the paper.
    There isn't a ton of fluff but yes your teacher will probally want you to clean it up a little.
    I have found that most people that are not musicians have no idea who Jaco and Stanley are, the music industry can be a sad place.
  9. Hehe...
    Well, I'm not really satisfied with the Jaco section. Is it just me, or do I really make Jaco sound like a one trick pony?

    And plus, I'll have to do a lot of revamping to get that musical notation in there. According to my supervisor, when writing about music in general they tend to just show the music, but you don't get to hear the music, which is a load of crap, if you ask me. The best would be to see and hear, but since my paper's on technique, I thought it'd be more appropriate to have stuff like when Stanley changes technique within the song etc. instead of cutting & pasting bits of sheet music here & there and saying "In this phrase Stanley Clarke is using the slap/pop technique, and in this phrase he is using finger style technique."
    I mean...sure, that tells the examiner what's going on, but they can't actually hear it. Unfortunately, sending in audio recordings is "highly discouraged" by the IBO.

    I talked to the IB coordinator at school about it, though, and he said I should put notes in the body & bibliography & maybe even the body to mention that I have MDs of all the songs recorded, and can send them over if the examiner wishes to hear them.

    So...even though I really think the way I did it makes a lot more sense, I guess I'll have to go with the IBO on this one and cut & paste some transcriptions, so I can get a good grade for it...:rolleyes:
  10. Richard Lindsey

    Richard Lindsey Supporting Member

    Mar 25, 2000
    SF Bay Area
    Actually, this is somewhat debatable. You're right about the 2nd person ("you") IMO, but not about the 1st ("I"). I've been a professional medical editor for almost 20 years now, and in my experience, when what's being said is the author's (or authors') opinion or viewpoint, it's clearer, more direct, and (to me) preferable simply to say "I" or ("we," as the case may be). An example, in my field, would be when a surgeon is describing his or her idiosyncratic way of doing an operation, or describing his or her particular take on a controversial medical question. After years in this business, to say something like "the present writer" when what you mean is "I," or "in the author's view" when what you mean is "in my view," sounds coy and silly to me.

    On the other hand, there is a lot of writing where injecting the author's opinion or viewpoint isn't necessary or appropriate--say, in a historical synopsis of the names and reigns of the 12 Caesars--so naturally "I" wouldn't come up there.
  11. Bruce Lindfield

    Bruce Lindfield Unprofessional TalkBass Contributor Gold Supporting Member In Memoriam

    Well OK if you want some serious "criticism":

    On the Jaco part , you say "self-titled solo album" far too many times. Apart from that the writing style is pretty good, although there are a number of factual inaccuracies, which your teachers will almost certainly not notice.

    But anyway - you imply that "Donna Lee" has artificial and natural harmonics - it doesn't. Whereas "Portrait of Tracy" is famous for this, but in your discussion of this song you don't mention it!

    I also don't think Donna Lee is all about "chops" - but rather about harmonic invention and playing straight-ahead Jazz on electric bass, without a chordal instrument - a recurrent theme in Jaco's solo work.

    Also - I'm not sure if this was the first time that Jaco came to notice, as you say - he played on the Pat Metheny album "Bright Size Life" which came out before this.

    I also totally disagree with this sentence :

    "As technically sound as Jaco’s playing is, almost all of the songs on his self-titled debut album make it seem as if he can only use one or two techniques that only truly work well in a solo performance. "

    But it's a matter of opinion I suppose?

    On "Birdland" - there is no horn section - it's all Joe Zawinul!!

    I'm also not sure about the sentence :

    "What makes it all the more amazing is the fact that he is playing on a fretless bass, where intonation is harder than on a fretted bass" - well yes and no, but more importantly - Jaco had both at the time and played fretted on some of this album as well as when he was on tour.

    I'm also amazed that you don't mention "A Remark You Made" - Joe Zawinul said that he wrote this especially with Jaco in mind and his stunning fretless sound - to me this is the tune that stands out and where Jaco's bass takes centre stage with a huge fretless sound that is almost "orchestral" in nature. One of the best tunes you can play to explain how Jaco's sound and melodic sense had a huge influence on other players. This could only be played on electric bass and sound like this - the electric bass had finally found a "true" voice in serious music.

    Also you leave out "Havona" one of Jaco's best tunes (It's in the Real Book!) and again his solo on this was hugely influential - incredibly melodic and quoting Stravinsky etc.
  12. Bruce Lindfield

    Bruce Lindfield Unprofessional TalkBass Contributor Gold Supporting Member In Memoriam

    On the conclusion - I'm not sure about the number of techniques being a valid idea. Also you have probably left out many examples of techniques.

    So I could say for Jaco he makes inspired use of ghost notes on things like "Come on .." , he makes expressive use of pedal point, his legato fretless work, the way he gets the notes to swell. He has his left hand or right hand fretless slap - which is used on the albums you mention and which he demonstrated in his instructional video. Sort of hitting the strings and sometimes sliding this as well - but not like conventional "slap/pop". Mixing harmonics with standard notes to make chords.

    This is apart from the techniques you have mentioned in the article. Also - a lot of Jaco's innovations are in terms of note choice and harmonies - something which probably distinguishes him from Stanley Clarke - Jaco's ideas are usually horizontal rather than vertical or linear. To me - chops are not what Jaco is about - but rather an approach to playing electric bass that is harmonically interesting and non-repetitive - which you do allude to in your essay.

    I think his solos spots are just "tricks", but his compositions live on and so current (straight ahead Jazz) players like Christain McBride who paid tribute to Jaco on his latest album SciFi - still keep Jaco's memory alive.
  13. Whew! Thanks for that, Brucey!
    Without people like you, I'd probably get ripped apart by the examiners if they knew their Jaco, but seeing as my supervisor is really pretty useless in the jazz end of music, he really can't help me at all.

    Now all I have to do is revise/implement all that stuff...and discuss a couple new songs. :)

    And in all honesty, by the time I got around to writing about Jaco, I was getting sick of listening to music so closely and constantly rewinding to hear the previous few seconds...

    Bad practice, I know. I should've listened to and written about Stanley for a while, taken a short break, then listen to & write about Jaco for a while, and keep alternating like that...but I didn't. :oops: I listened to a bunch of Stanley, wrote about it all, then listened to & wrote about Jaco.

    Anyway, I'll have to get my other homework out of the way first, then sit down & get back into my EE.
    After dinner, of course, which is in a couple minutes. :p
  14. Bruce has many a valid topic in his posts.
    Maybe while you modify your essay you should be listening to Jaco's first disk.

    All the Jazz guys I know list Havona as their favorite Jaco song, probally because of its Real Book entry.
    A remark you made is to me his sweetest fretless song, he plays like the bass is singing.

    While Jaco played fretless it did have lines on it.
  15. Cool, thanks for everything so far, guys! Keep the comments coming, and I'll be sure to upload the modified essay when it's done! :)
  16. Ok, here's the newly revised version.

    I hope I fixed everything that needed fixing...