The Fidelity of Jaco Pastorius.. Reissue..

"My name is John Francis Pastorius III and I'm the greatest electric bass player in the world." The cat that introduced himself thus wasn't just shooting the breeze; he could back it up. And in the 36 years he spent on this planet, he was deity, genius, madman, drunkard and derelict pretty much in that order.

Jaco Pastorius went to the great gig in the sky on September 21, 1987. He left behind an incredible legacy, a body of work that is still being dissected, analyzed, learnt and played - almost. His revolutionary approach to bass playing - using melodies, harmonies, chords, harmonics, percussive effects (and some other stuff that hasn't quite been figured out yet) was totally unprecedented.

It isn't everyday that a jazz musician makes waves like Jaco did. The seamless fusion of elements from the Beatles to Charlie Parker to Bach that showed up in his playing, along with stage theatrics gutsy enough to make rock stars baulk made him a superstar. Made an icon of an iconoclast.

And so there you have it, bass playing circa 1976 A.P (After Pastorius) was everything that it wanted to be. Shaped by one mercurial phenomenon who grew up in Fort Lauderdale, Florida, a street kid 'discovered' by Bobby Colomby (Blood, Sweat & Tears), who produced this landmark record.

The album begins with the intensely be-bop 'Donna Lee', a Charlie Parker tune that shows off Jaco's fluid, effortless lines and blistering technique. Featuring Don Alias on bongos, the piece is a stellar duet that still glows with all the passion that Jaco invested in his work.

What follows is way down below in the frying pan as far as grease goes. 'Come On, Come Over', featuring, among others, David Sanborn and Herbie Hancock is smooth funk transported to new rhythmic heights, helped along with Jaco's immaculate sixteenth-note phrasing and drummer Narada Michael Walden's in-the-pocket groove.

In essence, this album is everything that Jaco loved - R&B, funk, bebop jazz, latin and classical. A little spaced-out exploration thrown in for good measure shows up on 'Continuum', and you'll figure out just why he ripped out the frets from his bass.

The luscious string arrangements on 'Kuru/Speak Like A Child' are Jaco too. Herbie Hancock and Don Alias let it all hang out, and Kuru really rocks. Then it's time for jaw-dropping folks, when 'Portrait of Tracy' comes along. There really is no point saying any more. Listen.

'Opus Pocus', refreshingly funky, is followed by the classically minimalist 'Okonkole y Trompa', revealing an emotional depth that is still stunning.

'(Used To Be A) Cha Cha' has one Jaco solo that simply leaps out of the mix and grabs shirtfront. And the same goes for Hubert Laws' Piccolo and Hancock's spirited piano on this track.

Strange, but the lyrical grace of 'Forgotten Love' will seem all the more poignant when you know Jaco's story. To see a man who so radically transformed the way an instrument is heard reduced to a manic-depressive derelict begging for beer money can't be pleasant. It's heartbreaking.

Well, that just about everything 'bout Jaco's first solo effort.. But, thats not all :



Hei.. happy to announce that the much anticipated "Portrait of Jaco - The Early Years" is finally complete and on sale !!

"POJ" is the first in a series of recordings scheduled to be released by Holiday Park Records that feature Jaco during his early formative years in Florida. These recordings will provide a totally refreshing perspective on the life and times of Jaco Pastorius and extend his discography by seven years.



The man is gone, but he's still around. In spirit. Just listen...

words by RiesAp 12:26 PM

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