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ISBN 0-tlr+-!1,?5q-

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With techniquethat exceeded ity that attainedoceanicdepths. the Pastoriusrevolution garrank of "World's Greatest to the self-ordained nereda worldwide audience.By the time he releasedhis d6but LP and joined WeatherReport. thata series ofbooksdocumenting Jaco's soit's only appropriate we'll see. void of any musical prejudices.Jaco Pastoriuscreateda style of playing that reinventedthe electric bass.But the musiche andeverything he did. of bassists bom afterJaco's We areon the cuspof thefirst generation work arefinally beginning to appear.This is not to say that others haven't advancedthe instrument and contributedto its evolution. it's iust that Jaco starteda revolution.By takinga closlized in his first few recordings musicalmind anddiscover why his playconcepts.INTRODI.Jaco'smusical future seemed education. "All you'vegot to d." Born into a musical family. divide. He beganto developan undergroundreputation during his teen years while honing his playing technique..eachtranscription salientstructural features. Gifted with inevitable. many of the concepts utiimprovisational development.andcombine him guage. he has. ineffable. it's interesting how we 'Jaco'-as if he's been a lifelong friend of ours.transporting musicianship and the momentof their creation. In otherwords.He lacked a formal music absolutepitch and immensehands.providing intimate contactwith his astonishing creativity. This is the real deal!" Few people in the history of music have single-handedlytransformedthe way an instrument is played. virtuosi are strewn acrosscenturies. Jacowas exposedto music from the day he was born. andas This bookchronicles Jaco's serve asa modelfor therestof his recorded output. larger{han-life aurathat surrounded except the mostimportant: the intangible..insteadJaco was bombardedby the rich cultural climate Florida had to offer. and Jacoquickly ascended Bassist.you can't separate us directly to has left us revealsthe most intimate details of his musical genius.gigging regionally. "Where I come from." untimelydeathin 1987.we candissect.and tales of their superhumanperformancesstir our imagination.Fewer still are performerswho createa mannerof playing so original that it forces us to and musicalthe limits of physical endurance seethe instrumentanew. we may betterunderstand Jaco's er look at these is accompanied by a brief analysis ing wassorevolutionary. almost always refer to him as Anyone who has had such a tremendousimpact on our lives as musiciansbecomessomethingmuch more than just a collection of CDs. and videos. nobody cares what style of music you play. including myself. never met Jaco. In someways. the musicfrom the man.ois keepyour earsopen. . that discusses laneverycharacteristic ofJaco'smusical In slowmotion.]CTION "I ain't just wigglin' my jingers. pictures. Most of my musical knowledgecomes front playing expertence." Despite the fact that most of us. To accommodate this. and paying his dues. Anyone who sharesor contributesto this senseof wonder inevitablv becomesa Dartof it.This allowed him to develophis own unique approachto music and the bassguitar without being pressured to play any one kind of music. he becomespart of that indescribabletranscendence we experiencewhile listening to and playing music. Everybody down there just lives.

erence.andconcertswrthJoniMitchell'theWordofMouthBand'andWeatherReport-were utilized to coordinatefingering in specific cases' music' we help to ensurethe preservationof By studying. pluyrng li[itning+ast iotos..extensivevideodocumentation-includinghisinstructionalvideo.itt"v whisper a silent "thank .However.recordingcafeer(thoserecofdingsheknewweregoingtonereleased)'includinglandmarksolosfromhis'l976solod6but'through WeatherReport.rangingfromJimiHendrixtolgorStravinsky.ott]cia|.drawingoninRu"n"".. fingerstyle funk rhrolgh Donna trr.and performing Jaco's today-even those in their teens-are ripping his legacy. discussirig..itisimpossibletosaywithanycertaintywhichfingeringJaco usedwhenplayingthesepieces. you" to Jaco Pastorius' eachtime ttt"v Oo.TheexcerptsinthisbookSpantheentiretyofJaco. many b-assists glittering harmonics. onJ'pe.Theinclusionoftablatureinthiscollection servesonlyaSapointofref..t SeanMalone Oregon Eugene..Becauseof tti.s'. and deep.manifestedin purringfretlessmelodiestot-eedback-drivenharmonics.ron.ThetranscriptionsportrayJacoasamultifacetedperformer andcomposer.totheBrianMelvinTrio. 2001 September .

leading into his first solo chorus. Also.C o n t r o l l e d A l l R i g h t sf o r t h e W o r l d e x c l u d i n g C Internationa l o p y r i g h tS e c u r e d A l l R i g h t sR e s e r v e d . progression in E. As if performing the finger-twisting melody on bass was not enough.DONNA LEE By Charlie Parker The first track from Jaco's 1976 d6but solo CD. Jaco Pastorius.which suggests beforehand. the original melody Jacobeginsthe secondchorusin measure65 with a phrasethat resembles of the Bi7 chord: Ab. indicatedthat the track Jaco had most-if not all-of his solo worked out was finished in one or two takes. The final chorus is a statementof the melody in E major.was the "track heard'round Don Alias. yields underlying stepwisemotion that inant seventh. 79-80. Soon afterward. No one had dared to play music such as this on electric bass. Measure 47 contains the first occulrence of what would become a Pastorius trademark: The effect is arpeggios.there is some anecdotalevidencethat supportsthis claim.E M l M u s i c I n c . preparedby a seriesof ii-V-I prominor seventhchord beginning gressions. After the Donna Lee has a 32-bar form basedon the changes an Ab major triad. Jaco substitutes the notesG$. then substitutes tion he frequently used. which either indicatesthat Davis spentsomeextra time on it.composedthis tune.Bobby Colomby.. Jaco extendsthe Eb7chord in measures in a group of harmonicsthat includes the major 7th. there is no conclusive proof.However. and G. Despitethe the world. something is speedingup (the eighth-notetriplets are faster than the regular eighths.t would end up resolving If everythingwere spelledin a theoreticallystrict way. In meastatementof the tune. It polyrhythmic-the feeling of two separate feels as if something is slowing down (the harmonic rhythm) and at the same time. t h e U . C.followed by the il9.in orderto makethingsmore readable.this chorus has a more "searching" quality to it and contains shorter.this was not the case when Donna Lee was recorded. adding the #9th. Copyright and Admrnistered b y S c r e e nG e m s . posedit. Beat three always has the 3rd of the domapproached with the 5th on the downbeats. Gil Evans was planning to make an arrangementof the tune and approachedDavis for the music. the sequence of Abm7. I switchedto G#m7instead to the chordFb.r 1 Ebl Gf m7 c#1 Ff. rather than Charlie Parker.outlining descendingseventh-chord pulseswithin the bar that don't sharean equal division.D. eighth-notetriplets in four-note groups.m7 B] L 1 4tq .Jacoutilizes this sametechnique(including groupingsof five) in many of his solos. Jaco arpeggiates an E7*9 over the BF7chord with an open E string and harmonicsfor sures35 and 36.Jaco proceedsto solo through three chorusesof the form. This modulating sequence gives the impressionof a compoundmelody-two melodic lines in one. iii-VI-ii-V-I up a setting @ 1 9 4 7 ( R e n e w e d1 9 7 5 )A t l a n t i cM u s i c C o r p . S . minor 7th. El. Cm7 o'b*htb BbmT t. Nonetheless.he spansalmost the entire bassneck with a whole-half diminD7 over the AF harmony in measure40-a tritone substituished scalebasedon Bt. or supportsthe notion that he comhistory has favored Charlie Parker as the composer. Though the rhythand endsit by emphasizingthe upper extensions mic drive remains consistent. and G. and major 3rd of the chord." Jacochosethe bebop classicDonna Lee in duet with percussionist claim made by Miles Davis that he. In the late 1940s. much lesswith such astonishingmusicality. however. However.Jaco'sproducer.)As we will see.clustered more compact statements. a common reason for recording altemate takes during Davis' time with Charlie Parker was because of missednoteson Davis' part. Io Back HomeAgain in Indiana. Jaco startsoff with a pattem consisting of an arpeggiated by a 19 and *9.

Jacobreaksthe pattern.emphasis of upperextensions (gths.highly accuraterhythmic phrasing. and l3ths). F IFI This would have maintained the continuousstepwisedescenton beats I and 3.At the point whereG#m7occurs. The slight changeJaco made adds variety to a line that.utilization of the entire bassneck. ending with a harmonic-ladenE6/9 chord. Jaco'sperforman ce of Donna Lee revealseachofthe melodic. With this one track. the stylized statement of the tune in E major climaxeswith an extendedchromatic run. it would havelookedlike this: b?a-. If he had continued the sequence. 3 F # v ' TAAA'IAA. and gracefulmelodicism. I lths. Jaco Pastoriussingle-handedlyforced us to seethe bassguitar in a new light and createda new standard for the virtaoso bassist. Finally. arpeggiosof seventhchords connectedby step. EvenlyJ = 218 Ab Bb7 BbmT EbmT Db _>-. Thesedevicesinclude rhythmic displacement(triplets in groupingsof four and five). would soundlike a predictablesequence.I Dbm7 Oh Bbl BbmT . despite the inclusion of colorful altered tones. and harmonicdevices that we will seein all ofhis recordedoutput.harmonicsto bolster the harmony. rhythmic. double stops.

Ab . q r + -'F 'e-\ qIF' .1 -\ Eb7 .

n ). Ab 8trt--- ct#e ctfg 4.| 4a { d 4 a 4 n 4 t { E 1 1 1 t 1 1 BbmT .t 11 4t 6.bc .

BbmT 10 .

-:.a_ L^ T..'I z._.: Cfr7 .|A'..'.

Ff m7 dlit- .- 12 .

As with "Donna Lee" and "Portrait of Tracy. Ff.46/9 chord in measure87.Jacogets the most out of the handful of noteshe choosesto expressthe harmony. though a great deal of the phrasing involves quarter-noteand eighth-note triplets.The compositionalcontour is straightforwardand traditional: l) Statementof the melody.ending as peacefully as it began on an E6l9 chord." "Continuum" has earnedits place in the basscanon and continuesto inspire and challengebassists today. more meaningful words are chosen. As with poetry. The AAB form begins with a low E and harmonics on c*.over the cmaj7 in measure 88. =_. he choosesC*. It representsan archetypicalmodel of composition for bass. and Ail. 1999).rich.Jaco is off and running again with a sixteenth-noteascentto high B. G*. as the listener is often unawareof when the first statementends and the next one begins. he emphasizes B. The pulse of the solo is basedon the quarter note.shimmering harmonics. and over the E6l9 in measure89. found in measures 71-73. The word "continuum" is defined as "a link between two things."we havethe bestof all possible worlds:Jacois the composer. The first solo begins with a narrow range and hints at the original melody.)t trJl. Jaco is soloing as a sidemanin the context of someone else'scomposition. D. with a few subtle changesin phrasing. and before you can catch your breath. Jacoonce again beginsto developand vary the melodic material that's already been presented. or a continuous seriesof things. Becauseof this. that blend into each other so gradually and seamlesslythat it is impossibleto say where one becomesthe next" (Webster'sAbridged Dictionary. and B. It's a tried-and-truestatementof musical structurethat reachesto new heights within the genreof electric bass. Measure 8l marks the beginning of a dramatic build featuring Wes MontgomeryJike octave phrasing with quarter-notetriplets. Rather thanjumping out of the gate with ablazing solo. within a group setting. 1 I Copyright A 1974Pastorius Music A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n 13 . featuresflve-note groupingsof sixteenthnotes that further manipulatethe pulse.where fewer.CONTINTJT]M By Jaco Pastorius For most of the selectionsin this book. effortlessly covering a two and one-half octaverange. and 3) Releasingthe tension with the recap of the melody.and chordal double-stops. providing unobtrusiveharmonic and rhythmic supportfor his solo. and G. This definition accuratelydescribesthe melody of this piece. EI | =ll2 E! il t+C t l--/l)l Harm. Jaco is accompaniedby keys and light cymbal work. sixteenth-note runs such as the one in measures 59-60 sounddramaticin contrast. the pieceis written essentially for solo bass. / | eeeClelee_ lj_l lvl flt I l".reportedlyfinished in two takes.The end of this sectionis cappedwith a smoothglissandoto an emphaticlow E.In the caseof "Continuum. chorusedtonescome from double-trackinghis bass.The deep.Another one of theseruns. This is answeredwith an arpeggiated retum to low E. Measure I 1I beginsthe recapof the melody that is played almost note-for-noteas the beginning.and he is the only soloist. The melody of "Continuum" has become an anthem for bassistsof all skill levels. Fil. they seemto elide one anotherin a continuousloop. he emphasizes E.purring fretless melodies.completewith fundamentaldrones. over the . presenting the form and harmonic content. 2) Improvisation over the form that gradually builds in tension. This section is a brilliant example of Jaco's unique improvisational style. cil. and G#.

.t f re t. t| .-_l r I' v"v OCO 11:v/tt / fi'--j.= = \\ lJt^Jt ee l-l 14 . --l llll-l----l . '\-/ll *? | / I fi-'rt ? | vlt rt / fi-fi t v/l tl-fi t // | ? / Gf/Af ee t \ lz-: ll J +e llvl J z$' l'__l +' YI L() Fo J' .t ) J | I 'e'++ l.-l_.A3 ..

___) f) -. EJ' ^ tt | -l t l v l /l -e- l.-= + e \ eI el F fl.J r?-fl ?.J f?.^_ i'. --.L. //l *e ea F l?-rt t-l //l ? r r-r | GIA llrl + -4€' F#lbe Ei \l a I ^rJ1 a L---J : #JI= e? l-l c#/Df 15 .

.d.++' .?V l -t- E.'--l -- ta>C t)-i '. ^ i-jl {f CO -l ^.3 i)---) --f^.<l 16 .-l T I 'z$ I l- .A3 .1'-J *3 l)'-'l r l-l CC l-l rI ?l t: 'v-/ t .

i .it = CmajT 17 .cf /Df t\b* b .2 .

.I' -] 2 .l -l -.-\)r -)--. >J> 18 .

Gf /Afl 6v0..-__) ee l-l 19 .- cf /Df ).

. llvl YI Ff /E e \ --.J **O t)"1 | *e /l l)-'l F el O*O 1 I = laa- rr^r.--_j **O t)vl el F --.. t' 1 e{> l-o 20 ./l //l //l ) | fl..t .--*- | === *+C l"? | ++C l)-lll | )\.j +i C*O | )\-/l //l ) | //r ) | * t.--€ I '-__ e | 11 =.

Most commonly. D#. andA# to completethe EmajT#lI chord. The harmonicson A and D are doubledon the D and G stringsat the fifth and seventh frets.The B sectionintroduces the main themeandfeatures a technique oftenusedby cellistsandvioliniststo achieve. the first finger is analogous to the nut. respectively. B.and Db playedas harmonics.with complementary harmonics that fill out the restof the harmony. D.it illustrates the entiregamutof timbral possibilities for the electricbassvia a tightly-packed.quarters etc.flageolet notes.This sectionis repeated with increasingly dissonant generated harmony. highlyorganrzed structureand an organicmelodic framework. but Jaco heard more than that.s. and fifth frets.producinga descending chromaticbassline from Gf to E. andA strings.featuring two distinct parts:a chromatic bassline (C-B-Bb). then thirds. It is much more thanjust a clevercombination of harmonics and frettednotes.The right-handthumb strikesthe E string' while fingers I and 2 pluck the harmonics. secondfret on the A string. on the fourth and third frets. Copyright O 1976 Pastorius Music A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n 21 .This final chord was doubledwith an overdub. with harmonics based on the first and secondfrets.chorused sound with two independent parts. it continues to divideinto sectionsfirst in half. The relationship is no differentthan playing the fourth fret on an open string-like using a moveable capo. The D sectionis a lilting 514. a collectionof pitchesthat soundsimultaneously with the fundamental. The first finger of the left hand holds the notesE..serie. The C sectionserves as the bridge.The fourth finger playsthe bassline. and Ff on the ninth fret. the first finger is placedon the note B. fourth.the otheron F.. containingmost of the pitch materialfound in the entire piece.followedby an EmajTil 1. Gb. With this technique. Thereis a shortpause on the E 719. but the endresultis a lush. but is a brilliant exampleof composition for the solo bassguitarand a testament to how much one person can get out of one instrument.they requirea lighter touch for the harmonics and a little heaviertouchfor the bassnotessincethey are in first position.PORTRAITOF TRACY By Jaco Pastorius The naturalby-product of a vibratingstringis the overtone . The main motif eventuallyreturnsand offers a tonal relief to the dissonant harmonythat precededit.creatinga shimmering choruseffect. wherea chimelike tonecanbe produced when a fingeris lightly placedoverthat spotandttrestringis plucked.At eachof thosedivisionsrs a harmonicnctde. The low E is plucked. and the harmonics areplayedwith the first. "Portraitof Tracy" is not only a revelation of the musicaluseof harmonics. It's difficult to get thesenotesto sound. augmented by three-note harmonicclusters. This chordis playedwith the same flageolel techniquefound in the main motif. The introductionis a cascading motif of harmonics found over the third.and then the threeharmonics abovecreate the Gf . The end of this section contains two chords:one built on Bb.This requires quitea stretch and somecoordination. and third fingers.This sectionalsofeatures a chord Jacooften used:tr 7#9with Ep as the bassnote and G. It servesas a nice contrastand prepares the return of the main motif. andthe fourth finger analogous to the fourth fret. In order to createthe Dfi harmonicin measure 4.harmonicsare used to tune the instrumentat the seventhand fifth frets. As a stringvibrates. and the fourth is placedabovethe sixth fret. second. while the fourth finger lies gently acrossthe thirteenthfret on the G. and composed the harmonicsmasterpiece Portrait oJ'Tract.

E
)
= 80 (slight rubato)
----------l

xCmajT

GmajT

Solo Bass ljma--

f

Harm. let rittg

-

-

-l let ring throug,hout

* Chord symbols reflect implied harmonl'
** A1l upstemmed notes are harmtlnte . Pitches sound two octaves higher t:..: written except where indicated ar @

Emaj9

Cmaj9

CmajT

GmajT

EmajT

Ebtfr9

Dfi harmonic is producedby fretting a B on the 2nd fret of the A string with the index finger,then playing the harmonicon the 6th fiet of the A stringwith the pinky finger while still holding the B .

tr

M oderately J = lS

Emaj9

Cmaj9

Emajg

Ebt[g

Eadd2lGfl

r
Harmonics are located approx. 3/8" past 2nd fret ** Harmonics are located directly over 2nd fr.'t

El3

El3

813

El3
8va

Bm7

I

* Applies to harmonics only

22

BbmajT

Bm7

Bm9

B brnajT

Ebrnaj7( I f| )

#J

J

G # 7 b 5 ( add6)
dl'al- r

G m a j T t #ll)

Gf 7b-5(add6)

\/ '-\J

loco

GnrajTl#ll1

G# 7 b 5 (a d d 6 )

Grna.i9

G f 7 b s(a d d6)

Grna.l9

Bbmaj6

f,

Original feel
Cmaj9

Cmaj9

Cmaj9

Gmaj9
--l--

j9 Erna

F,b7#e

E m a i TI(r) f ) ?
1 ' *rl

'/

1+

+l)J

71'

I' I'
Harnronics are producccl by' barringthe c)thfict o f t h e C . D a n d A s t r i n gw i t h t h e i n d e x finger. t h e np l a v i n gt h e h a r m o n i c s on the l3th fict of strings. thesarne

23

(usEDTO BE,A)CHACHA
By Jaco Pastorius The most prominent featuresof Jaco's solo from his composition "(Used To Be a) Cha-Cha" are precise rhythmic articulation and the use of almost the entire range of the bass.Jaco's senseof time was legendary,and this solo showsus why. The basic pulse of this tune is felt in 2, with the solo subdividedin eighth notes and occasionalquarter-notetriplets. Each and every note is articulatedso cleanly and preciselythat there is no questionabout the intention of every pitch. This is anotherfacet of the Pastoriusrevolution: highly energizedlines with crystal-clear execution spanning the entire bassneck. creatingtremendoustonal color in his Jacohad a knack for emphasizingmodal scaledegrees, chordsfound in this tune, Jacomost basslines and especiallyhis solos.Throughoutthe minor-seventh the raised6th scaledegreeas he did in measures often usesthe Dorian mode,being sureto emphasize then a Cl and E arpeggio ofB half-diminished, an ascending 1,4, 13,and so on. Measurel3 features that resolveto D and A-all over a D minor seventhchord. In this short span,he maximizesthe color of the Dorian mode, along with the tensionofthe leadingtone and supertonic,framing the tonic pitch. In measure20, Jacobegins hinting at the melody of the tune, highlighting the extensionsof the harmony: the l3th, bgth,il5th,and $9th.The phrasingis tight and compact,and there isn't a wasted note. In measure37, Jaco plays one of his trademark lines, phrasing eighth notes in five-note groups.The pattem ceasesin measure39 where he changesto a four-note grouping, with the beginning of each phraseon the last half of beats 2 and 4, creating a syncopatedeffect. This descending line-syncopated pentatonicfills groupedin fours-is omnipresentin Jaco'ssolos. almost entireIn measure57, Jacoplays a four-notepatternof F*-D-B-A which is transposed ly up a whole step to G*-E-C-G*, framing the arrival of the pitch G in measure58-all over Dm7. Someof the pitchesare outsidethe given harmony,but the organizationof the phrasinggives the feelwill resolve at some point, adding tension by creating a goal of the directed ing that the dissonance motion. At the end of measure60, Jaco plays a motif consistingof two eighth notes and one quarter through measure63, displacing it rhythmically. This sort of motivic developnote that he sequences ment provides a unifying quality to the solo, as if each line seemsrelated to previous statements, growing out of one central idea. By measure89, Jaco begins to restatethe melody of the tune as the run from low Gb to high Db, conbecomestacit. This preparesa tremendous chordal accompaniment by a whole step in three different octaves' sisting of fourths separated Most of the solos on Jaco'sfirst album sharesimilar qualities: strong rhythmic drive, pristine pentatonicruns, and articulation,colorful modal and chromaticpitch choice,harmonics,pattern-based useof the entire bassrange.In addition, all of the improvisation seemsto havebenefitedfrom a great deal of forethoughtand planning, whereaslater recordingsbegin to reveal a more "searching" qualiWhat they all havein comthat more was left up for grabsduring the recordingprocess. ty, suggesting virtuosity and sensitivity that transcendthe instrument.This was not meremon is an unprecedented ly a bassist'ssolo album; it was the voice of a tremendousmusician and composerwho happenedto play bass.From this point on, the electric basswould never be the same.
Basssolo

J=las
Dm7 Cm7

A13b9

24

'1976 Music Pastorius O Copyright A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n

I l**r..nI!I' Csus4 A l3b9 Bb7 il? fi....' TA.A.- -o. CmajTb5 25 .tll _a_ l ^ ^ .

.t F Ebt#e 26 .Ar3b9 LmaJ/b-) .

A r3 b 9 Bb7ile CmajTb5 27 .

DmajT DmajT 28 .

graduallybuildsin intensity.By measure14. settingup an eighth-note tripletrun from low B to high G. One qualityof greatimprovisers is their ability to create andrelease tensionvia a contourthat beginsslowly.elements are presented one-by-one and expanded. Iaco steers away from the triplet quarternotes. continuingon B. In measure 20.As the solo beginsto wind down.favoring eighth notesand a few quarternotes. contrasting the high ringing harmonics. The remainder of this chorus'throughmeasure 33.The solo endswith the samefigure that beganthe tune and his solo.By Pat Metheny BRIGHT SIZELIFE Jaco'ssolofrom the title trackof PatMetheny's debutalbum. In measure 47.Bright SizeLfe.punctuated with somevirtuosicruns. Jacoextends the local harmony(D/C) with harmonics on Fil and B. in measure 50. The secondchorusseesevenmore rhythmic freedom. Measures40 and 4l feature an amazingsixteenth-note run that essentially is an arpeggio of a Bb major triad combinedwith a lower-neighbor patternone semitone beneath eachchordtone:Bt-A. playedin groupsof two and thus creatinga hemiola.\-/ Copyright O 1975 Pat Meth MusicCorp. etc. as well as somebeautifullegatophrasing. ) = rce Evenly (N. and D-and introduces a quarter-note triplet figure that he refersto consistently throughout the solo.) GmajT B bmaj Tb-s/A v \\--- \//. Soon afterward. features a great dealof motivic unity anddevelopment.Thereis a more "searching" qualityto it.In this case. Jaco is still playing very much inside the harmony. D-C#. He implies an A7 over the G/A chord by playing a high G and C#. A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n 29 .and key harmonicchanges are supported by subtlearticulationof chordtones.which he planesdownwardto F and B to accommodate the F/G chord. he creates the feelingof two within a compound grouping. a four-note motif is sequenced twice. Jacoenters his solo by playing a fragmentof the openingtheme-a seriesof 5ths beginningon Ff.includingthe returnof the quarter-note triplet figure in measure2T. The listener alwaysretainsa sense of form and melody. The first few phrases are restrained and focusedon chord tones. addinga :llth and major 7th.The climax of the run is a high G overa Gmaj7chord that is quickly arpeggiated downwardto facilitatea returnto the middle register of the instrument. He gracefullyendsthe phrase with a low B and G.The syncopated eighthnotesin measures 30 and3l prepare a restatement of the themethatbegan the solo. F-E. is lessrhythmicallystrict than the openingtwo-thirdsof the solo. Jaco'ssolo in "Bright Size Life" increasingly expands the tune'sharmonicand rhythmicboundaries.subtly passingthroughchord tonesso that the chord progressionremains clear. but they arenevercompletely abandoned. E.c. Jacoaddsanothertrademark lick: slurreddoublestops. It's similar to telling a story. Jacoreturnsto the quarternote triplet figure in measures 58-60. and then releases into the next solo or recapof the tune. buildingenergyand excitement until a climacticpoint is reached. with looserphrasing and a greater varietyof rhythm.

3 G/B -----\ N.J -___r GmajT 7- 3 ---- ---l-----J Bbmaj7b5/A ----s.C.(G/A) r_.(G/A) GmajT 30 .BbmajT 13 ----t N.C.

B bmajTb-5/A GrnajT 5/A B bnajTb Bb ma jT l--l--r N.C.(G/A) BbrnajTb-5/A 31 .

l-tlr-ltl-i' 'J' DmajT 32 .(G/A) Gma17 BbmajTb5/A r-- J ------.C.N.

and Jaco decidesto remain tacit for the large arpeggiothat he had previously played in unison with the piano.The harmonyis Cmaj7." but without the constraintsthat tertian chords amount of momentum. B minor pentatonicruns fill out the end of the first chorus.Jaco plays a unison run with the piano in measure42.The contour of Jaco's line is very wide-from low G to high A in measure29. full-compass Basssolo ) =rc1 N. Part of his "sound" includes an approachto note choice that the local of the harmony.C. Measures5 and 6 feature an unexpectedquote from the opening motif in Igor Stravinsky's down one half step from the original." often usedto describethe music of WeatherReport and severalother groupsfrom the 1970s. w Copyright O 1 9 7 6 H a a p a l aM u s i c A l l R i o h t sR e s e r v e d U s e d b v P e r m i s s i o n 33 . This culminates in the dotted-eighth/sixteenth 37 and 39. then down to low G# at the start of measure 33. it was articulated vie% but it servesas a model for any instrumentalist.as well reportedly punchedin one-at-a-time. Jaco'sphrasingis proprietary and innovative.Jaco contributedtwo compositionsIo Heavy Weather:the chopsdriven "Teen Town" and the Latin-influenced "Havona." Both compositions showcaseJaco's bass playing.each was constructedin the studio and Presentis Jaco'sincredible commandof the instrument. a greatmusician steals. Jacogracefully exits the solo with two barsofcontinuous triplets. By measure29.He emphasizes ?th.HAVONA By Jaco Pastorius WeatherReport's Heavy Weatherwas groundbreakingin the newly emerging genreof jazzrock. A beautifully crafted tune combined with a highpoweredbassline and a virtuosic solo make "Havona" a potent exampleof Jaco'simposing skill and musicianship. creatinga slowing effect on figure layered with 5ths and the forward motion. It is here that he may be quoting the first phrasefrom Pat Metheny's Bright SizeLife (tansposedup one whole step). the major colorful scaledegrees rically weak positions. octavesin measures heralding the transition back to the top of the form. and the 9th. Each phraseof Jaco's solo is clear-cut and complete.as if it all soundedthe sameand had the sameaudience.Jaco summonsan old stand-by:descending tems groupedin fours and fives. The genericterm "fusion. It has the effect of sounding "in. the 6th. transposed 'A his influenceson his sleeveand to practicethe motto attributedto Stravinsky: good musicianborscalarpatrows. the secondbeing a variation of The first two statements the first. of Jaco'ssolo are relatedmotivically. as his melodic and motivic fluency.phrasedalmost entireimply. back up to high G in measure31. and Jacotouchesupon the pitch C primarily in metsuch as the raised4th."By measure12. to low Dl in measure30. the solo hasbuilt a considerable ly in sixteenthnotes.doesthe music a disserviceby lumping it all together. 23 The beginning of the secondchorus contains one of the most interesting lines (measures and 24) ofthe entire solo.while de-emphasizing or upper extensions either modal degrees emphasizes point of from a bassist's tonic pitch. Jaco was always eagefto wear The Rite of Spring. but it is the latter that documentshis maturity as a composer. respectively.

34 .

t 26l|^^tr. 11' .f/f/fAA aA.

+- 36 ..^- ^ ^ -'.

If it was truly improvised.C. The title comes from the term Jaco used to describehis own music. Perhapsthe most interestingaspectof studying this solo is decipheringJaco's choice of notes. and rhythm.from sublime melodicism to disThe solosin this collection come in severalshapes torted harmonics. simply put.]NKJAZZ By Jaco Pastorius and sizes. It is a lengthy phraseand one of the most sequential-one motivic idea.There are two large sectionsthat comprise this extendedpassages tune: groups of 33 and 34 measures. instead.even of "in. no matter how far "out" Jaco goes.Jaco's solo conveysa palpabledegreeof intent and purpose." however.)An interestingfeatureof this solo is that it containsfew of the patternsand licks Jaco often relied upon. rather than being perceivedsimply as a collection of random pitches.there is still some semblance "Punk "Port of The solos from Jazz" and of Entry. respectively. Measures63-64 contain what might be a quote from John Coltrane's"Giant Steps. covering the rangeof low E through high D.For example. found on the WeatherReport album Mn Gone.separated on either side by rests. (He claimed he was using the term 'punk' long before it becameassociated with the movementthat yielded bandssuchasThe Sex Pistols and The Clash.we put ourselvesin Jaco'splace and experience a musical vocabularyvastly different than our own. commentedupon in which the speakermakesa concept many times with slight variation. There is no specific harmonic progressionduring the opening bass cadenza.Be that as it may. are two archetypicalexamples when Jaco was. The downsideof this is that the timbre of the open string seemsto jump out-a twangy anomaly amidst warmly fingered notes. Veryfast ) =Zgl N. interval choice.PI. divided by a loud and highly reverberated drum accent.7. or subject. These kinds of organizational features subconsciouslycontribute to our perception of the phrase'smeaning. At times. measures 34 through 40 are primarily tetrachordsconnectedby intermittent stepwisemotion. lengthy runs are facilitated by the use of the open G string. We understandthe core or the essence of the idea as it is preservedfrom statementto statementvia the contour. A transcription such as this offers a glimpse into the creative mind of an improviser at the moment of expression. Think of it as a conversation or idea clearerby use of analogy-it's basically the samething.The notes are clear and distinct." if they are unaccompanied.Most of the solos have a harmonic foundation as well as a senseof boundary.but there are where key areascan be discerned.he employs bebop-like lines combined with a rock-like feel-truly "punk 147. why were thesenotes chosenover others?What was Jacotrying to communicate? Properanswersto thesequestionsfar exceedthe scope of this book. ripping. providing a meansto shift position. it does nothing to detractfrom this ear-dazzlingsolo.The most striking featuresof Jaco's playing are the speedand accuracy. Measures45-48 contain a shorter phrasefeaturing larger intervalsthat ascendand altematelydescend-a kind of crest and trough that provides a senseofbalance. By playing this piece. Copyright O 1 9 7 6 H a a p a l aM u s i c A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n 37 ." transposed Each phrase. "Punk Jazz" is Jaco's own composition. but serveas a point of departurefor further study and dissemination. jusl presentedin a variety of ways.has its own syntax and vocabulary.

AA' 38 . A'.T^AA'.

39 .

40 .

albeit out somefavorite Pastorius rough." we get funk. A point that is often overlookedwith Jacois that it wasunderstand n't only his playing ability that madehim a virtuoso.At this point' he engagesthe distortion pedal and flies into a rendition of the Jimi Hendrix classic "Third Stone which ushersthem into a from the Sun.Slang" is a live recording of what many thousandsof fans heardJaco play during his years of touring. part Charlie Parker. "slang" worked because @ 1 9 7 9 H a a P a l aM u s i c Copyright A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n 41 . with Jacoplays a handful of licks in the upper register. Once he establishes He equalizesthe tone of the loop. . chromatic lines that are part blues and part bebop. deliberateslide down the bassneck. all combined with the showmanshipthat's part James Brown and part Bamum's Circus. by disengagingthe bassloop and playing a Cmaj9 chord with The final sectionis announced harmonicsand a low C. This provides the tempo for Jaco's layered. Most of the lines are mainly pentatonicand/orbluesy in a funk setting. though anecdotal evidencesupportsthat Jaco got the idea from Alphonso Johnson. The motif consistsessentiallyof the extensionsof an E9 chord all of the lay(B-D-Fil) and includes their upper neighbors(C*-E-G{) as well. and for good measure. ering. but combine that with the stagepresenceand the aura that surroundedhim.and part Wilson Pickett. generatinga roar of applausefrom the audience If we standback and inventory the contentsof "slang. and a dash of Julie Andrews. The playing itself is enough to convince any listener of Jaco's enormousskill and talent.Jaco slapshis bassstrings with an open palm over the pickup while engaginga delay pedal that has the ability to repeat infinitely . bebop. are familiar with the classicjoke: "beware of when the drums stop-bcss solo!" And that joke isn't unfounded. The Hendrix section of the solo winds down with a large. harmonics. This is the point where Jacohas undoubtedlyjumped off his amplifier. He then takesoff with someblazing.cappedoff Jacooften quotesJimi Hendrix.Jimi Hendrix. innate ability and desireto entenain. often including a variety of musical quotes. Most. Bm7.In other words. Enter Jaco Pastorius-part Sid Vicious.three-partmotif that createsthe harmonic and rhythmic foundation over which he'll solo.followed by a crash on a distorted low E."Slang" would silenceall doubtersand add anotherchapterto the Pastoriusrevolution. Jacothen quotesthe first phrasefrom his composition"Portrait of Tracy" and slides deftly into a quote from "The Sound of Music. a distorted low A soundsfor a few seconds." After his trademarkEb7*9chord.followed by a repeatingbass loop over which explosion of distortedharmonics.which sound Jacobegins"slang" with a melody startingon low F and intersperses chords:E7t9.. referring back to the melodic material he presentedearlier. then a feedback-driven a hearty back-flip off of his amplifrer onto his with somemore melodic work. and it's easy to why Jacobecamelarger than life. part Jimi Hendrix.This section ends with a diminished seventh arpeggioand somephrasingthat is reminiscentof his work on "Donna Lee'" The next sectionof the solo is consideredto be an innovation on Jaco'spart. bass. and Jaco returns to a clean tone. he hits the "repeat" function and becomesa one-man-band. it was also the virtuosity of his creativity and an Jacomade it work. if not all of you. preparingthe next sectionof his solo.mixing legato and staccatostatements the low E string. in a Pastoriusbasssolo: somehigh-registermelodThe order of eventsbecamestandardized ic work.SLANG By Jaco Pastorius A featureof every WeatherReport concertwas a solo perfbrmanceby eachof the musicians. and Bbl3. so the idea of a solo electric bassperformancewas less than appealingto most." The audienceusually respondswith shock and amazement. new level of engagementwith the solo. What could possibly be played on solo electric bassthat could be consideredactual music and keepthe audience'sattentionfor more than five minutes?It tums out that there is plenty to say and quite a show to see.

)) E7ile dt'a/------l C - Bm7 dl'rl--- B bl 3 r Harm.C. bass (c/E) (F) -_---w/ vibrato efl'ect E uoF -a - ast swinJ g = t S o( n N.C. xx* Deaden strings w i t h p l u c k i n gh a n d (Bb) tAbr (G) ( F f) SlowerJ N. =. /i - hJ-. =144(t t''t t) 42 .C.tempo markingsthroughclut this sectionare approximate.(F) Solo Elec.Free time N.:{: I' * x A s t h i s i s a l i v e s o l ob a s sp i e c ew i t h o u ta n y a c c o m p a n i r n e ( ns tu c h as drums).

\/r ]q! (87#9) (cf 7) rFf 9) (A) (Af. .-3 F a s t B e b o p) = 2 0 0 ( t . . ri .") (B) (E) E7sus4 dl'rl l Harm.

b y r u n n i n gt h e e c h os i g n a lt h r o u g ha s e c o n d s l i g h t l yo v e r d r i v e n a m p l i f i e rw i t h t h e b a s sc o n t n r lr L r : ...: : down and the midrangecontrol turnedup. w / B a s sL o o p I ( l 7 t i m e s ) ta ^'|.AAA.C.. and tab numbersin parentheses (The effect on the recordingcan be elnui.s):It-:::l Plrir'\. Upstemmed cue-sized n :.. J . End Bass l-oop I * x t : S l a pd e a d e n e s dt r i n g s p e r c u s s i v e lw y i t h p l u c k i n gh a n d .:::j indicateecho repeats. r'* This sectionis perfbrmedwith an infinite delay effecttimed to half notes. 9vu (httlt l()l( e.Moderate Funk feel J = 108 N.-. 44 .AAA^' TA'.{}''I'..! ..\/ x Pluck stringw/ thumb while ntuting with the heel of the plucking hancl.) E9 t 8tu (lxttlt yrite.

-iJ:l YI 45 . | )'\r'-l d.E w / BassLoop I (20 times) E9 w/ thumb l* J-J *O.

i *x Waver the pitchesby bendingthe bassneck forward and backwardwith the frettinghand while anchoringthe bassbody with the plucking hand.-e 1 .t J -l Jf Jf^f'^\ t+4 Harnr w x 8r'a directionappliedto harmonicpitch only. Harm.r then playing the harmonicson the 7th frer ofthe samestrings with the pinky finger (*hilc still holding rhe noteson the 4th fret).. . Touch stringat the fret indicatetirn parentheses very lightly so as to allow both the harmonicand the stringro rrr.r u/ thumb A.- E^J -J'FJ' x Harmonics are producedby baning the 4th frer ofthe G.. 46 ...----_---- .. x'kt' Pitchec..and tab locations are approximate.. - r--l 4- l--"-- \J' w -l _-__1. w / f t u m b. D & A strings with the index tins.

w / B a s sL o o p I ( 9 t i m e s ) E9 -J--- -J- l'---r-r -J--j - -J v-r-r=_-r v tr Free time E7(no3rd) Cmaj9 h. ri Eb7fl.C. Fi /i E. & vibrato ef-fect * All upstemmed notesare harmonics.l q "+ 'N - -j------ pp x'rx w/ dist. E- .f q + \y J w/ dist.e N. tF* . and overtones 47 .(As) (E 5) ) c I .then playing the harmonicon the 6th fiet of the A string with the pinky finger (while still holding the B).. Pitchessoundone octavehigherthan written. *x Touch stringat the fret indicatedin parentheses very lightly so as to allow both the harmonicand the ooen strins to rins. GIC w * Df harmonicis produced by frettinga B on the 2nd fret of the A stringwith the index finger. vibrato efl'ect& delav >k>k>k w/ random fdbk.

and Jaco'sclimax is a meansof backing out from all of the energy.Jaco'sperfoffnanceon "Port of Entry" raisesthe bar for technicalachievement on the bassguitar but it's much more than that. consistingof a descending3rds followed by two consecutive2nds. the tempo appears to be slower. A new melodic grouping. At the end of Jaco's solo. Jaco's solo straysfrom C major but remainslargely pentatonic.PORTOF ENTRY By Wayne Shorter The song "Port of Entry. then a recapof the melody over the double+ime feel. Jaco shifted from C7 to Cm7.Jaco. The second set.using false harmonics. Fast. After a short lick in A minor (measure 6). I N C A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n .) 48 C o p y r i g hO t 1 9 8 1 I S K AM U S I C A l l R i g h t sA d m i n i s t e r e d b y I R V I N GM U S I C .The rhythmic accuracy and clarity of the pitches. If nothing else. and the subtle adjustmentenhances an otherwisepredictablesequence.a double-timebassand percussionsolo.is found on WeatherReport's Nigftt Passage. which Jacoholds for one and a half measures. and Bm7.C. consists of Dm7. which leads to the bass solo. This sequence is interestingbecauseinsteadof simply planing the shapeof the seventhchord downward. andBm7.combined with a slightly distortedtone.notjust a chanceto "wiggle your fingers.Part and parcel to a senseof cohesionis the ability to enter and exit from a solo so that it appears to be part of some larger structure.in measure 20. then on to Bm7." Jaco achievesall of thesethings. The first two statements are almost exact transpositions of eachother: the secondstatement a perfectfourth lower than the first.which descendin whole-stepincrements. Providing a senseof unity and cohesionin a solo is a challengefor any improviser. Jaco introducesa motif of arpeggiatedseventhchords. so that the transition feels smooth and natural. Cm7. ending with anotherone of Jaco's trademarklicks: parallel 3rds descending by step. which gives the illusion that somethingis slowing down despitethe fact the sixteenth notes are played at the same tempo.occurs in measure32.The first three statements are metrically separated by an eighth-noterest. The building tension of the continuous ascentis finally releasedin measures 34 and 35.so eachstatement has a sense of completeness to it. Jacofollows with the first of many pentatonic runs.The goal of this motion is the pitch A. a small tag capsthe piece. Supporting this effect is the fact that pentatonic scalesconsistoffive notes." Only a performer with the most precisesense of meter can pull this off. adds a senseof urgency to the performanceand is one of the finest examplesof Jaco's monsEoustechnical ability. The chords aren't relatedby key. otherwise it soundslike a conflict in the rhythm section. Harmonically.doublesthe first presentation of the melody and follows it with a deep but sparsegroove in C major.especiallywhen there is no supportingharmony. preparingthe arrival of the third large sectionof the tune. reinforcing the arrival of eachnew "beat." composedby Wayne Shorter. Gm7. In measure18. By accentingevery fifth note. Measure26 featuresanotherlengthy pentatonicrun. = 174 (N. the listener is expectingchange. The first set of descendingseventh chordsincludes Dm7. C7. after which Jaco compresses the motif to occur every quarter note. sequenced by an ascendingsecond. though this time Jacoplays groupingsof five notes that createsa polyrhythm betweenthe bass and drums. while simultaneouslyinfusing his very unique brand of musicianshipand creativity. The phrasing includes groups of four notes sequencedon the pitches G-C-A-G. The song structurecan be divided into three main sections:a slow opening sectioncontaining the main melody.

.

21 s0 .

51 .

his music can be renderedon almost any musical instrument without suffering any aestheticloss.Jaco.our best glimpse at Bach the improvrser versus Bach the organizer.not the instrument. They are usually very free and highly improvisational.and it is a heartfelt tribute to who was perhapsthe greatestmusician of all time. as the rest is almost completely unplayableon the bassguitar.we would mark the end ofthe Baroqueera and inherit a musical legacythat attainedgalactic dimensions. just as the Chopin Etudessuffer when not played on piano. certainly not the imposing "Chromatic Fantasy.CHROMATICFANTASY Ananged by Jaco Pastorius On the afternoonof July 28. but do retain a more or less recognizablesectionalform. he beganto hear the first whispersof eternity. Arguably the greatestarchitectof music. So it was only natural for Jacoto record a compositionby Bach on electric bass-but we usually find bassists choosingfrom the Six Suitesfor Cello. Word of Mouth. ^ri C o p y r i g h@ t 1 9 8 1 M o w g l iP u b l i s h i n g A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n . the focus is on the notes and structure. he changedthe register of a few notes in order to keep it within reachable spaceon the bassguitar. 1750.With his passing. consideredthe foremost interpreterof Bach's works for keyboard." The two qualities of Bach's music that contribute most to its universality and longevity are a focus on processand its own intemal logic. Jaco'stouch is very light throughoutin order to accommodate the dramatic shifting required piece.. The entirety of the "Fantasy" is actually much larger than what we find on Jaco's secondsolo recording.commentedthat the "Fantasy" is "."A fantasy. having dictatedhis final piece to his son-inlaw Altnikol. Bach crafted a body of work of such unimaginableintellectual depth and universal beauty that it defies the rigors of time and remains a source of perpetual inspiration.like thousands if not millions of others. is an instrumental work whose form and inspiration come solely from the one who composedit. The PaganiniCapriceslose somethingwhen not played on violin. This rendition addsto the growing list of remarkablefeatsJaco performedon the instrument. but a tremendousgift awaits thosewho make their way through it.found inspiration in Bach's music and documentedit with his recording of the "Chromatic Fantasy. their aesthetic delivery depends heavily upon the instruments for which they're written. It's an enormouslychallengingpiece to tackle..JohannSebastian Bach lay dying." The late Canadianpianist Glenn Gould. He only performs the first large sectionof the piece. of the In addition.or phantasia. As a result.

.

implying a circle of fifths progression: D-B71D|"-E-C#7lEI. and A strings.Here.and legatoruns defy the innateawkwardness of the electricbass.The first phrase is decorated by harmonics on G#.contains a secondary dominant 9th chordthat leads to the arrival of E major.buffetedagainstthe low E. referringto the birth of his twin boys.The voice-leading at the end of the first phraseincludes a chromaticascent in the bass. measure 15.zr.executed with flawlesstechnique. The gentleglissandi.slurs." As "Portrait of Tracy" and "Continuum" showcase Jaco'sgifts as a composer for solo bass.and endsthe piecewith a rapid one-octave scalein A. and is then followed by an Ebl#9chord that resolves to the subdominant.D. via a subtle contrapuntal second voice. D major. the bassnoteA is followed by Gf . and F# over the chordEl .Jacouseshis right handto hammeron the bassnote B on the E string. Jacoaltersthe articulation of the melody in measures 21-24 by way of false harmonics-placing the thumb of the right hand halfway betweenthe fretted note and the bridge.In measure 25. which could be considered the 3rd of El (theV chord in A).'Amerika" is an example of his boundless imagination as an affanger. then plucking behind it with the right-handindex finger. 54 Copyright O 1 9 8 4 M o w g l iP u b l i s h i n g A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n . Both versions containJaco'ssolo 'America bass affangementof the Beautiful. The result is a remarkable. The additionof harmonics is an integralpart of the texture.. A reduction of the voice-leadinewould look like this: The final phrase of the melodyis accompanied by yet another chromatic bassline. The end of the second phrase. D major. The run in measurel7 is a highly decorated approach to the pitch C#in measure 18. Jacofollows this gentle. the albumwas packaged as a singleLP underthe nameInvitatio. cantabilerenditionof an otherwiseunremarkable folk tune.with the main melody performed predominantlyin the middle range. Perhaps the most striking featureof this performance is the sensitivityof Jaco'stouch.implying the harmonicprogression A-F+7lA#-EIB-C+. This movingrenditionof 'America the Beautiful"would become one of Jaco's hallmarksand is yet anotherexampleof the rangeof expression solo electricbasshas to offer. So beneath the activemelody.poignantstatement with the subdominant.thereis a descending bassline A-E (implied)-Eb-D. In the United States.AMERIKA By Jaco Pastorius Jaco'sthird solo albumwas a live recording of his Word of Mouth Band and was released as a doubleLP in Japancalled TwinsI & II. ascending in half steps. as his left hand holds the three-note chord D#-A-C#. resolvingto Ffm.

Tempo Rubato *A dl(r -- ++e I l---\ l1 ..- --8r'tr 55 .t /t ) Harnr.

)-) N.C.r |==----= A/cf D I .(A) 56 .-L A/C# 87/D# c#7tEf. F#m .E9 \l a- -l_ 1 (f'-f.

and his playing is hardly reminiscentof the youthful abandonfound in his first trio recording. Jacoutilizes the often-usedtriplets phrasedin groupsof five.As the Jacowearshis influenceson his sleeveand tagsthe ending with a figure from tumaround approaches.Instead. l N C . with whom he made contacta few yearsprior.primarily playing the root notes of the harmony. ( R e n e w e d ) A l l R i g h t sR e s e r v e d U s e d b y P e r m i s s i o n 57 . including what was to be Jaco's lasl-Standards Zone. result of a lifetime's worth of experiences Jaco solos through two chorusesof the form. preparingthe retum of the melody.perhapsthe during the interveningten years. out of the harmony until measure52. he begins winding down the solo by using larger note values. he once again plal s the Hendrix tag. and extendsthe Eb7 chord in measure l8 b1 adding the 9th (F) and I lth (At). in measures the pulse. predominantly supporting the harmony b1 including chord tones. Me Now.alternatelycovering the 7th and 3rd of Em7b5.In measure24. and sixteenth-note phrasesand little motivic development. Bright SizeLife. creatinga continuousflow of melodic ideas. Despitehis frequentuse of this device. From measure7 through measure24. a b9 over the C7 chord. followed by three measuresthat contain only a few staccatoeighth notes. Dm'l .In measure63. plays through the tumaround. triplets." and Henry Mancini's "Days of Wine and Roses. the performancesare more subduedand restrained. there is very little breathing room.asJaco stabsin and Measures one half stepin the following measure. In measure.with shortened b1'half figure descending In the first chorus.measure13 featuresa dotted-quarter/eighth-note step.Aib9. the secondchorus is more rus is a mixture of eighths. Togetherthey made severalrecordings.while the secondchoruns. but a short pausebefore it breaksup the predictability of the sequence. Pianist Jon Davis joined Pastoriusand suchasTadd Dameron's"If You Could See Melvin for a CD comprisedof well-known jazz standards.but it is soon re-established run that partly destabilizes do$ n arpeggiomixing eighth notesand eighth-notetriplets that he sequences Jacoplays a descending 47-51 seemthe leastorganized. fragmentary. In addition.DAYSOFWINE AND ROSES Lyric by Johnny Mercer Music by Henry Mancini In the summer of 1986. it with a root-5th-gth pattern.Measure 38 featuresa rather indeterminatesixteenth-note 40-43. Jaco traveled to the West Coast to play some club dateswith drummer Brian Melvin. E ) = 154 FmajT Bbm O 1 9 6 2W A R N E R B R O S . The phrasecontinueswith a B' Jaco add: for the Gm7 chord. At measure58."This is the first time Jaco was f'eatured in a trio setting.The first chorusconsistsmainly of eighth-notephrasing. the Jimi Hendrix song "The Wind Cries Mary"-though he decorates The secondchorus begins with an F major pentatonicfill.{5.the effect is no lessdramatic. G7.

Dtbsbe 58 .

BmTb-5 FmajT D 7bsb9 59 .

l1m / b-) D7b5be Bbm Bm7b5 Am7 J- DrnT 60 .

In Jaco'scase. so that we can further understandthe tremendousgift he left us and passit on to the next generationof bassists.This. composers.Hopefully now.which took the audienceseveralyears to apprehend. It is precisely tftis aspect of his legacy that deserves our undivided attention.While many can empathize. after the initial flash ofcreation.to somedegree. 61 . his solo basswork seemedto plateauconceptually.though it never weakenedphysically. This is somethingJaco himself commentedon. few if any can compare with him when he was at his best.This is not a criticism per se-rathe1 it's a commentary on an interestingproperty ofprodigy and innovation. more and more of Jaco's work will begin to surfaceand becomeavailable for study. and bassists all over were copping his style." Even during his years with WeatherReport. he was assimilatedinto a global musical lexicon and no longer receivedthe credit for his innovations. Comparethe style and techniqueof the "Days of Wine and Roses" solo with that of "(Used To Be a) Cha Cha" or "Donna Lee. affected Jaco's ability to further develop his craft."Throughouthis entire career.not the sordid details of a man suffering from illness. he relied more and more on ideasfrom the past. and then consistmainly of pattemsand licks that Jaco usedall the time.with Jaco when he was at his worst. Despite the manifold number of storiesthat perpetuate the Pastorius mythology. it's his music that illuminates the brilliance of his legacy.and humanity.Once the world caughtup with him. combined with manic depressionand addiction. innovatorshave the tendencyto orbit aroundtheir primary contribution.his impeccablesenseof time and rapid-fire chopsremained. stating in a 1983 interview "I'm still using the same[stuft] that I played eight years ago. There is a tremendousbody of work that Jaco left us that has yet to be thoroughly disseminated.Despitethe worldwide availability of his recordings.but as the yearswent by.thereis much more to learn abouthis compositional developmentas well as his stylistic developmentas a collaborator-as both sidemanand alranger.begin to wandera bit.CONCLUSION A consistentquality of the solos late in Jaco'scareeris that they start out rather strong.his initial offering revolutionized every aspectof the instrument.

lasercd. 62 .and SteveHoek at SeratoSoftwarefor use of their plug-in for ProTools@ "Pitch 'n Time" (www.Seanhas appeared on over 50 recordingsand has performedthroughoutEurope andNorth America.com). 5 AudiolmageRecords Sensory Sensory RoadRunner Records Magna CartaRecords Metal Blade Records Hotwire Records ACKNOWLEDGMENT Thanks to: Everyoneat Hal Leonard. GordianKnot .where his research interests includedmusic cognition.com).Emergent. JohnMyung. Seanis alsothe authorof the Dictionaryof Bass (Hal Leonard).Yoko Miyama for the patience.net. SteveMorse.Carl Woideck for the facts.A Tributeto Rush Guitars That Rule the World vol. 2 BassTalk vol.His latestCD. SteveHackett. rs available worldwide from The Laser's Edge (www.Seanhas a Ph.serato.Reeves Gabrels.Mike Portnoy. Sean's websitecan be found at www. In addition. Grooves SELECT DISCOGRAPHY: SeanMalone SeanMalone SeanMalone Cynic VariousArtists VariousArtists VariousArtists Cortlandt Gordian Knot Gordictn Knot . in Music Theory from the Universityof Oregon.Ampeg.ABOTJT THE AUTHOR SeanMaloneis a bassist and composer who hasperformed and recorded with musicians such as Bill Bruford.seanmalone.Emergent Focus WorkingMan . and Schenkerian Analysis.DR Strings. and Mike Keneally.D.Trey Gunn.S.He has publishedand presented his research on the late Canadian pianistGlenn Gould at music theory conferences in Canada andthe U.absolute pitch.