*
4
$14.95 ISBN 0-tlr+-!1,?5q-
,ililillJJJllLillillllll
INTRODI.]CTION "I ain't just wigglin' my jingers... This is the real deal!" Few people in the history of music have single-handedlytransformedthe way an instrument is played; virtuosi are strewn acrosscenturies,and tales of their superhumanperformancesstir our imagination.Fewer still are performerswho createa mannerof playing so original that it forces us to seethe instrumentanew.With techniquethat exceededthe limits of physical enduranceand musicality that attainedoceanicdepths,Jaco Pastoriuscreateda style of playing that reinventedthe electric bass.This is not to say that others haven't advancedthe instrument and contributedto its evolution, it's iust that Jaco starteda revolution. "Where I come from, nobody cares what style of music you play. Everybody down there just lives." Born into a musical family, Jacowas exposedto music from the day he was born. Gifted with absolutepitch and immensehands,Jaco'smusical future seemedinevitable.He lacked a formal music education,insteadJaco was bombardedby the rich cultural climate Florida had to offer, void of any musical prejudices.This allowed him to develophis own unique approachto music and the bassguitar without being pressuredto play any one kind of music. He beganto developan undergroundreputation during his teen years while honing his playing technique,gigging regionally, and paying his dues.By the time he releasedhis d6but LP and joined WeatherReport, the Pastoriusrevolution garnereda worldwide audience,and Jacoquickly ascendedto the self-ordainedrank of "World's Greatest Bassist." Despite the fact that most of us, including myself, never met Jaco, it's interesting how we 'Jaco'-as if he's been a lifelong friend of ours. In someways, he has. 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, pictures, and videos; he becomespart of that indescribabletranscendencewe experiencewhile listening to and playing music. Anyone who sharesor contributesto this senseof wonder inevitablv becomesa Dartof it.
"All you'vegot to d.ois keepyour earsopen. Most of my musical knowledgecomesfront playing expertence." of bassistsbom afterJaco'suntimelydeathin 1987, We areon the cuspof thefirst generation thata seriesofbooksdocumenting Jaco'swork arefinally beginningto appear. soit's only appropriate development, andaswe'll see,manyof theconceptsutiThis bookchroniclesJaco'simprovisational lized in his first few recordingsserveasa modelfor therestof his recordedoutput.By takinga closJaco'smusicalmind anddiscoverwhy his player look at theseconcepts,we may betterunderstand by a brief analysis ing wassorevolutionary. To accommodate this,eachtranscriptionis accompanied salientstructuralfeatures. that discusses ofJaco'smusicallanIn slowmotion,we candissect,divide,andcombineeverycharacteristic him guage,exceptthe mostimportant:the intangible,ineffable,larger{han-lifeaurathat surrounded the musicfrom the man.But the musiche andeverythinghe did. In otherwords,you can't separate has left us revealsthe most intimate details of his musical genius,transportingus directly to the momentof their creation,providing intimate contactwith his astonishingmusicianshipand creativity.
TheexcerptsinthisbookSpantheentiretyofJaco.s'.ott]cia|..recordingcafeer(thoserecofdingsheknewweregoingtonereleased)'includinglandmarksolosfromhis'l976solod6but'through WeatherReport,totheBrianMelvinTrio.ThetranscriptionsportrayJacoasamultifacetedperformer andcomposer,drawingoninRu"n"".rangingfromJimiHendrixtolgorStravinsky,manifestedin purringfretlessmelodiestot-eedback-drivenharmonics.Theinclusionoftablatureinthiscollection servesonlyaSapointofref.erence;itisimpossibletosaywithanycertaintywhichfingeringJaco usedwhenplayingthesepieces.However,extensivevideodocumentation-includinghisinstructionalvideo,andconcertswrthJoniMitchell'theWordofMouthBand'andWeatherReport-were utilized to coordinatefingering in specific cases' music' we help to ensurethe preservationof By studying, discussirig,and performing Jaco's today-even those in their teens-are ripping his legacy.Becauseof tti, onJ'pe.ron, many b-assists glittering harmonics, and deep, fingerstyle funk rhrolgh Donna trr, pluyrng li[itning+ast iotos, you" to Jaco Pastorius' eachtime ttt"v Oo,itt"v whisper a silent "thank ;;;;;t SeanMalone Eugene,Oregon 2001 September
DONNA LEE By Charlie Parker The first track from Jaco's 1976 d6but solo CD, Jaco Pastorius,was the "track heard'round the world." Jacochosethe bebop classicDonna Lee in duet with percussionistDon Alias. Despitethe claim made by Miles Davis that he, rather than Charlie Parker,composedthis tune, there is no conclusive proof; however,there is some anecdotalevidencethat supportsthis claim. In the late 1940s, Gil Evans was planning to make an arrangementof the tune and approachedDavis for the music. Also, a common reason for recording altemate takes during Davis' time with Charlie Parker was becauseof missednoteson Davis' part. However,this was not the case when Donna Lee was recorded, which either indicatesthat Davis spentsomeextra time on it, or supportsthe notion that he composedit. Nonetheless,history has favored Charlie Parker as the composer. As if performing the finger-twisting melody on bass was not enough,Jaco proceedsto solo through three chorusesof the form. No one had dared to play music such as this on electric bass, much lesswith such astonishingmusicality.Jaco'sproducer,Bobby Colomby, indicatedthat the track was finished in one or two takes,which suggestsJaco had most-if not all-of his solo worked out beforehand. Donna Lee has a 32-bar form basedon the changesIo Back HomeAgain in Indiana. After the statementof the tune, Jaco arpeggiatesan Ab major triad, leading into his first solo chorus. In measures35 and 36, Jaco substitutesan E7*9 over the BF7chord with an open E string and harmonicsfor the notesG$,D, and G. Soon afterward,he spansalmost the entire bassneck with a whole-half diminished scalebasedon Bt, then substitutesD7 over the AF harmony in measure40-a tritone substitution he frequently used. Measure 47 contains the first occulrence of what would become a Pastorius trademark: eighth-notetriplets in four-note groups,outlining descendingseventh-chordarpeggios.The effect is polyrhythmic-the feeling of two separatepulseswithin the bar that don't sharean equal division. It feels as if something is slowing down (the harmonic rhythm) and at the same time, something is speedingup (the eighth-notetriplets are faster than the regular eighths.)As we will see,Jacoutilizes this sametechnique(including groupingsof five) in many of his solos. Jacobeginsthe secondchorusin measure65 with a phrasethat resemblesthe original melody and endsit by emphasizingthe upper extensionsof the Bi7 chord: Ab, C, El, and G. Though the rhythmic drive remains consistent,this chorus has a more "searching" quality to it and contains shorter, more compact statements.Jaco extendsthe Eb7chord in measures79-80, adding the #9th,clustered in a group of harmonicsthat includes the major 7th, minor 7th, and major 3rd of the chord. The final chorus is a statementof the melody in E major, preparedby a seriesof ii-V-I progressions.Jaco startsoff with a pattem consisting of an arpeggiatedminor seventhchord beginning with the 5th on the downbeats,approachedby a 19 and *9. Beat three always has the 3rd of the dominant seventh,followed by the il9. This modulating sequenceyields underlying stepwisemotion that gives the impressionof a compoundmelody-two melodic lines in one. Cm7
o'b*htb
BbmT
Ebl
Gf m7
t,r 1
c#1
Ff,m7
4tq
B] L 1
,t
If everythingwere spelledin a theoreticallystrict way, the sequencewould end up resolving to the chordFb.However,in orderto makethingsmore readable,I switchedto G#m7insteadof Abm7. settingup a iii-VI-ii-V-I progressionin E,.
C o p y r i g h t@ 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 . 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 gt h e U . S .C o n t r o l l e da n d A d m r n i s t e r e db y S c r e e nG e m s - E M l M u s i c I n c . I n t e r n a t i o n aCl 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
At the point whereG#m7occurs,Jacobreaksthe pattern.If he had continuedthe sequence, it would havelookedlike this:
b?a-, F
IFI
This would have maintainedthe continuousstepwisedescenton beats I and 3. The slight changeJaco made adds variety to a line that, despite the inclusion of colorful altered tones, would soundlike a predictablesequence.Finally, the stylized statementof the tune in E major climaxeswith an extendedchromatic run, ending with a harmonic-ladenE6/9 chord. Jaco'sperformance of Donna Lee revealseachofthe melodic, rhythmic, and harmonicdevices that we will seein all ofhis recordedoutput. Thesedevicesinclude rhythmic displacement(triplets in groupingsof four and five), arpeggiosof seventhchords connectedby step,harmonicsto bolster the harmony,highly accuraterhythmic phrasing,utilization of the entire bassneck, double stops,emphasis of upperextensions(gths, I lths, and l3ths), and gracefulmelodicism.With this one track. Jaco Pastoriussingle-handedlyforced us to seethe bassguitar in a new light and createda new standard for the virtaoso bassist. EvenlyJ = 218 Ab
Bb7
BbmT
EbmT
Db _>-,
TAAA'IAA,I
3
F # v '
Bbl
Dbm7
Oh
BbmT
Ab
, q r + -'F 'e-\
qIF'
,1 -\
Eb7
bc
. n ).
Ab 8trt---
ct#e
ctfg
4.t
11
4t
BbmT
6.|
4a
{ d
4 a
4 n
4 t
{ E
1 1
1 t
1 1
BbmT
10
T,|A'.,.'.'I
-:.a_ L^
z._.:
Cfr7
Ff m7
dlit-
12
- -
CONTINTJT]M By Jaco Pastorius For most of the selectionsin this book, Jaco is soloing as a sidemanin the context of someone else'scomposition,within a group setting.In the caseof "Continuum,"we havethe bestof all possibleworlds:Jacois the composer,the pieceis written essentiallyfor solo bass,and he is the only soloist.The deep,rich, chorusedtonescome from double-trackinghis bass,reportedlyfinished in two takes.The compositionalcontour is straightforwardand traditional: l) Statementof the melody, presenting the form and harmonic content; 2) Improvisation over the form that gradually builds in tension; and 3) Releasingthe tension with the recap of the melody. It's a tried-and-truestatementof musical structurethat reachesto new heights within the genreof electric bass. The word "continuum" is defined as "a link between two things, or a continuous seriesof things, that blend into each other so gradually and seamlesslythat it is impossibleto say where one becomesthe next" (Webster'sAbridged Dictionary, 1999). This definition accuratelydescribesthe melody of this piece, as the listener is often unawareof when the first statementends and the next one begins; they seemto elide one anotherin a continuousloop. The melody of "Continuum" has become an anthem for bassistsof all skill levels. It representsan archetypicalmodel of composition for bass,completewith fundamentaldrones,shimmering harmonics,purring fretless melodies,and chordal double-stops.The AAB form begins with a low E and harmonics on c*, Ff, and B. Jaco is accompaniedby keys and light cymbal work, providing unobtrusiveharmonic and rhythmic supportfor his solo. The first solo begins with a narrow range and hints at the original melody. Rather thanjumping out of the gate with ablazing solo, Jacoonce again beginsto developand vary the melodic material that's already been presented.The pulse of the solo is basedon the quarter note, though a great deal of the phrasing involves quarter-noteand eighth-note triplets. Becauseof this, sixteenth-note runs such as the one in measures59-60 sounddramaticin contrast.Another one of theseruns, found in measures71-73, featuresflve-note groupingsof sixteenthnotes that further manipulatethe pulse. Measure 8l marks the beginning of a dramatic build featuring Wes MontgomeryJike octave phrasing with quarter-notetriplets. This section is a brilliant example of Jaco's unique improvisational style. over the ,46/9 chord in measure87, he emphasizesE, cil, and G#.over the cmaj7 in measure 88, he emphasizesB, D, and G, and over the E6l9 in measure89, he choosesC*, G*, Fil, and Ail. As with poetry,where fewer, more meaningful words are chosen,Jacogets the most out of the handful of noteshe choosesto expressthe harmony.The end of this sectionis cappedwith a smoothglissandoto an emphaticlow E, and before you can catch your breath,Jaco is off and running again with a sixteenth-noteascentto high B. This is answeredwith an arpeggiatedretum to low E, effortlessly covering a two and one-half octaverange. Measure I 1I beginsthe recapof the melody that is played almost note-for-noteas the beginning, with a few subtle changesin phrasing,ending as peacefully as it began on an E6l9 chord. As with "Donna Lee" and "Portrait of Tracy," "Continuum" has earnedits place in the basscanon and continuesto inspire and challengebassiststoday.
EI
| =ll2
E!
il
t+C
l--/l)l
t
/
Harm.
|
eeeClelee_ lj_l lvl flt
I l",)t trJl,
C o p y r i g h tA 1 9 7 4 P a s t o r i u sM 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
=_,
1 I
13
A3
J
.t )
I' v"vr
l,-l_,-_l
'e'++
OCO
11:v/tt
/
|
I
fi'--j. t| .
'\-/ll
|
*?
/
fi-'rt ?
vlt
I
|
rt
fi-fi t v/l
/
tl-fi t // |
Gf/Af
tl z\- :
J -
ll
ee
J
z$'
l'__l
+'
+e
llvl
YI
Fo
L()
J' ,
--l
llll-l----l
. - - t f re
t- =
ee
l-l
14
=
\\ lJt^Jt
? /
f) -.J
L.___)
EJ'
^
-l
f?.
|
l,^_+ i'.-=
-e-
e
tt
t l v l
/l
F
\ eI
el
fl, --.J
F
ea
*e
r?-fl ?. //l
l?-rt
t-l
GIA \l
llrl + -4€'
//l
F#lbe
a I ^rJ1
?
r r-r -
|
Ei
a L---J : #JI= e?
l-l
c#/Df
15
A3 I
.-l
l-
.,d.'--l
T'z$I
--
ta>C t)-i ',?V l -t-
E,3
--f^; ^ i-jl {f
i)---)
r
CC
CO
l-l
l-l
,
.++'
16
-l
^.1'--J *3 l)'-'l
rI
?l t: 'v-/
t
cf /Df ,2
t\b* b
,it
=
.i
CmajT
17
I'
-]
2
-.-\)r
.l -l
18
-)--- ,
>J>
Gf /Afl 6v0- - -
cf /Df ).-__)
ee
l-l
19
.t - J *e
**O
t)"1 |
l)-'l
/l
F el O*O
l"?
t)vl
//l
=
I
|
rr^r,--*-
laa-
===
++C
*+C
//l
//l
| )\./l
l)-lll
|
F
fl,.--_j **O
1
el
)
--.j +i C*O | )\-/l
//r
|
)
*l ltv.l
|
YI
Ff /E
e
\ --..--€ I '-__
e
|
=,
11
1
t'
e{>
l-o
20
)
|
PORTRAITOF TRACY By Jaco Pastorius The naturalby-productof a vibratingstringis the overtone.serie.s, a collectionof pitchesthat soundsimultaneously with the fundamental. As a stringvibrates.it continuesto divideinto sectionsfirst in half, then thirds,quartersetc.At eachof thosedivisionsrs a harmonicnctde,wherea chimelike tonecanbe producedwhen a fingeris lightly placedoverthat spotandttrestringis plucked.Most commonly,harmonicsare used to tune the instrumentat the seventhand fifth frets, but Jaco heard more than that, and composedthe harmonicsmasterpiecePortrait oJ'Tract,. The introductionis a cascadingmotif of harmonicsfound over the third, fourth, and fifth frets, containingmost of the pitch materialfound in the entire piece.The B sectionintroducesthe main themeandfeaturesa techniqueoftenusedby cellistsandvioliniststo achieve.flageolet notes.In order to createthe Dfi harmonicin measure4, the first finger is placedon the note B, secondfret on the A string, and the fourth is placedabovethe sixth fret. With this technique,the first finger is analogous to the nut, andthe fourth finger analogousto the fourth fret. The relationshipis no differentthan playing the fourth fret on an open string-like using a moveablecapo.This sectionalsofeaturesa chord Jacooften used:tr 7#9with Ep as the bassnote and G, Gb,and Db playedas harmonics. The C sectionservesas the bridge,producinga descendingchromaticbassline from Gf to E, augmentedby three-noteharmonicclusters.The D sectionis a lilting 514,featuringtwo distinct parts:a chromaticbassline (C-B-Bb),with complementary harmonicsthat fill out the restof the harmony.The fourth finger playsthe bassline, and the harmonicsareplayedwith the first, second,and third fingers.The right-handthumb strikesthe E string' while fingers I and 2 pluck the harmonics. The harmonicson A and D are doubledon the D and G stringsat the fifth and seventhfrets, respectively.This requiresquitea stretchand somecoordination,but the endresultis a lush,chorusedsound with two independent parts.This sectionis repeatedwith increasinglydissonantharmony,generated on the fourth and third frets. It servesas a nice contrastand preparesthe return of the main motif. The end of this sectioncontainstwo chords:one built on Bb,the otheron F, with harmonicsbasedon the first and secondfrets. It's difficult to get thesenotesto sound;they requirea lighter touch for the harmonicsand a little heaviertouchfor the bassnotessincethey are in first position. The main motif eventuallyreturnsand offers a tonal relief to the dissonantharmonythat precededit. Thereis a shortpauseon the E 719,followedby an EmajTil 1. This chordis playedwith the sameflageolel techniquefound in the main motif. The first finger of the left hand holds the notesE, B, and Ff on the ninth fret, while the fourth finger lies gently acrossthe thirteenthfret on the G, D, andA strings.The low E is plucked,and then the threeharmonicsabovecreatethe Gf , D#, andA# to completethe EmajT#lI chord.This final chord was doubledwith an overdub,creatinga shimmering choruseffect. "Portraitof Tracy" is not only a revelationof the musicaluseof harmonics,, but is a brilliant exampleof compositionfor the solo bassguitarand a testamentto how much one personcan get out of one instrument.It is much more thanjust a clevercombinationof harmonicsand frettednotes;it illustratesthe entiregamutof timbral possibilitiesfor the electricbassvia a tightly-packed,highlyorganrzedstructureand an organicmelodic framework.
C o p y r i g h tO 1 9 7 6 P a s t o r i u sM 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
21
E )
= 80 (slight rubato)
Solo Bass ljma--
f
xCmajT
GmajT
----------l
-
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 @
GmajT
CmajT
Cmaj9
Emaj9
Ebtfr9
EmajT
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 oderatelyJ = lS
Cmaj9
Emaj9
Eadd2lGfl
Ebt[g
Emajg
r Harmonics are located approx. 3/8" past 2nd fret ** Harmonics are located directly over 2nd fr.'t
Bm7
El3 8va
I
* Applies to harmonicsonly
22
813
El3
El3
BbmajT
Bm7
Bm9
B brnajT
E b r n a j 7 (I f| )
#J
J
G # 7 b 5 ( add6)
G m a j T t #ll)
Gf 7b-5(add6)
dl'al- r
'-\J\ /
loco
G# 7 b 5 (a d d 6 )
GnrajTl#ll1
G f 7 b s(a d d6)
Grna.i9
Grna.l9
Cmaj9
Cmaj9
'/
Gmaj9
f,
Bbmaj6
E r n aj 9
--l--
Original feel Cmaj9
F,b7#e
E m a i TI(r) f )?
71'
1+
1' *rl
+l)J
I' I' Harnronicsare produccclby' 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 ex f i n g e r . t h e np l a v i n gt h e h a r m o n i c so n t h e l 3 t h f i c t o f t h e s a r n es t r i n g s .
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. Jacohad a knack for emphasizingmodal scaledegrees,creatingtremendoustonal color in his basslines and especiallyhis solos.Throughoutthe minor-seventhchordsfound in this tune, Jacomost often usesthe Dorian mode,being sureto emphasizethe raised6th scaledegreeas he did in measures then a Cl and E 1,4, 13,and so on. Measurel3 featuresan ascendingarpeggioofB half-diminished, 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. In measure57, Jacoplays a four-notepatternof F*-D-B-A which is transposedalmost entirely 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 feeling that the dissonancewill resolve at some point, adding tension by creating a goal of the directed motion. At the end of measure60, Jaco plays a motif consistingof two eighth notes and one quarter note that he sequencesthrough measure63, displacing it rhythmically. This sort of motivic development 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 chordal accompanimentbecomestacit. This preparesa tremendousrun from low Gb to high Db, consisting of fourths separatedby a whole step in three different octaves' Most of the solos on Jaco'sfirst album sharesimilar qualities: strong rhythmic drive, pristine articulation,colorful modal and chromaticpitch choice,harmonics,pattern-basedpentatonicruns, and 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" quality, suggestingthat more was left up for grabsduring the recordingprocess.What they all havein common is an unprecedentedvirtuosity and sensitivity that transcendthe instrument.This was not merely 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
24
Cm7
'1976 P a s t o r i u sM u s i c C o p y r i g h tO 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
A13b9
l**r,tll
I l ^ ^ - - - - -
_a_
-o.'
TA,.A,nI!I'
Csus4
A l3b9
Bb7il?
fi;
CmajTb5
25
Ar3b9
. - t
F
LmaJ/b-)
Ebt#e
26
A r3 b 9
Bb7ile
CmajTb5
27
DmajT
28
DmajT
BRIGHT SIZELIFE
By Pat Metheny
Jaco'ssolofrom the title trackof PatMetheny'sdebutalbum.Bright SizeLfe, featuresa great dealof motivic unity anddevelopment, as well as somebeautifullegatophrasing.Jacoentershis solo by playing a fragmentof the openingtheme-a seriesof 5ths beginningon Ff, continuingon B, E, and D-and introducesa quarter-note triplet figure that he refersto consistentlythroughoutthe solo. The first few phrasesare restrainedand focusedon chord tones.By measure14, Iaco steersaway from the triplet quarternotes,favoring eighth notesand a few quarternotes. In measure20, a four-notemotif is sequenced twice, settingup an eighth-notetripletrun from low B to high G. The remainderof this chorus'throughmeasure33, is lessrhythmicallystrict than the openingtwo-thirdsof the solo.Thereis a more "searching"qualityto it, with looserphrasingand a greatervarietyof rhythm,includingthe returnof the quarter-note triplet figure in measure2T.The syncopated eighthnotesin measures 30 and3l preparea restatement of the themethatbeganthe solo. The secondchorusseesevenmore rhythmic freedom,punctuatedwith somevirtuosicruns. Jaco is still playing very much inside the harmony,subtly passingthroughchord tonesso that the chord progressionremains clear. Measures40 and 4l feature an amazingsixteenth-noterun that essentiallyis an arpeggioof a Bb major triad combinedwith a lower-neighborpatternone semitone beneatheachchordtone:Bt-A, D-C#, F-E, etc.The climax of the run is a high G overa Gmaj7chord that is quickly arpeggiated downwardto facilitatea returnto the middle registerof the instrument. In measure47, Jacoextendsthe local harmony(D/C) with harmonicson Fil and B, addinga :llth and major 7th. He gracefullyendsthe phrasewith a low B and G, contrastingthe high ringing harmonics.Soon afterward,in measure50, Jacoaddsanothertrademarklick: slurreddoublestops. He implies an A7 over the G/A chord by playing a high G and C#,which he planesdownwardto F and B to accommodate the F/G chord.As the solo beginsto wind down, Jacoreturnsto the quarternote triplet figure in measures58-60, playedin groupsof two and thus creatinga hemiola.In this case,he createsthe feelingof two within a compoundgrouping.The solo endswith the samefigure that beganthe tune and his solo. One qualityof greatimprovisersis their ability to createandreleasetensionvia a contourthat beginsslowly,graduallybuildsin intensity,and then releasesinto the next solo or recapof the tune. It's similar to telling a story;elementsare presentedone-by-oneand expanded,buildingenergyand excitementuntil a climacticpoint is reached.Jaco'ssolo in "Bright Size Life" increasinglyexpands the tune'sharmonicand rhythmicboundaries, but they arenevercompletelyabandoned. The listener alwaysretainsa senseof form and melody,and key harmonicchangesare supportedby subtlearticulationof chordtones.
) = rce Evenly (N.c.)
GmajT
B bmaj Tb-s/A
v
\\---
C o p y r i g h tO 1 9 7 5 P a t M e t h M u s i c C o r p . 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
BbmajT 1-
7-
3 ----
---l-----J
3 ----t
N.C.(G/A) r_- J -___r
GmajT
Bbmaj7b5/A ----s- 3
G/B -----\
N,C.(G/A)
30
GmajT
B bmajTb-5/A
GrnajT
B bnajTb5/A
Bb ma jT
N.C.(G/A)
l--l--r
BbrnajTb-5/A
31
N.C.(G/A)
BbmajTb5/A
Gma17
r--
l-tlr-ltl-i'
'J'
DmajT
32
J ------,
HAVONA By Jaco Pastorius WeatherReport's Heavy Weatherwas groundbreakingin the newly emerging genreof jazzrock. The genericterm "fusion," often usedto describethe music of WeatherReport and severalother groupsfrom the 1970s,doesthe music a disserviceby lumping it all together,as if it all soundedthe sameand had the sameaudience.Jaco contributedtwo compositionsIo Heavy Weather:the chopsdriven "Teen Town" and the Latin-influenced "Havona." Both compositions showcaseJaco's bass playing, but it is the latter that documentshis maturity as a composer. Each phraseof Jaco's solo is clear-cut and complete;each was constructedin the studio and reportedly punchedin one-at-a-time.Presentis Jaco'sincredible commandof the instrument,as well as his melodic and motivic fluency. Part of his "sound" includes an approachto note choice that emphasizeseither modal degreesor upper extensionsof the harmony,while de-emphasizingthe local tonic pitch. Jaco'sphrasingis proprietary and innovative; it was articulatedfrom a bassist'spoint of vie% but it servesas a model for any instrumentalist. The first two statementsof Jaco'ssolo are relatedmotivically, the secondbeing a variation of the first. Measures5 and 6 feature an unexpectedquote from the opening motif in Igor Stravinsky's The Rite of Spring, transposeddown one half step from the original. Jaco was always eagefto wear 'A his influenceson his sleeveand to practicethe motto attributedto Stravinsky: good musicianborrows, a greatmusician steals."By measure12,Jaco summonsan old stand-by:descendingscalarpattems groupedin fours and fives. B minor pentatonicruns fill out the end of the first chorus,and Jaco decidesto remain tacit for the large arpeggiothat he had previously played in unison with the piano. The beginning of the secondchorus contains one of the most interesting lines (measures23 and 24) ofthe entire solo.The harmonyis Cmaj7, and Jacotouchesupon the pitch C primarily in metrically weak positions.He emphasizescolorful scaledegreessuch as the raised4th, the 6th, the major ?th, and the 9th. It has the effect of sounding "in," but without the constraintsthat tertian chords imply. By measure29, the solo hasbuilt a considerableamount of momentum,phrasedalmost entirely in sixteenthnotes.The contour of Jaco's line is very wide-from low G to high A in measure29, to low Dl in measure30, back up to high G in measure31, then down to low G# at the start of measure 33. It is here that he may be quoting the first phrasefrom Pat Metheny's Bright SizeLife (tansposedup one whole step). Jacogracefully exits the solo with two barsofcontinuous triplets, creatinga slowing effect on the forward motion. This culminates in the dotted-eighth/sixteenthfigure layered with 5ths and octavesin measures37 and 39, respectively.Jaco plays a unison run with the piano in measure42, heralding the transition back to the top of the form. A beautifully crafted tune combined with a highpoweredbassline and a virtuosic solo make "Havona" a potent exampleof Jaco'simposing skill and full-compassmusicianship.
Basssolo
) =rc1 N.C.
w
C o p y r i g h tO 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
34
f/f/fAA
26l|^^tr.
11'
aA,t
^-
36
^
^
-',,+-
PI.]NKJAZZ By Jaco Pastorius The solosin this collection come in severalshapesand sizes,from sublime melodicism to distorted harmonics.Most of the solos have a harmonic foundation as well as a senseof boundary,even if they are unaccompanied;no matter how far "out" Jaco goes,there is still some semblanceof "in." The solos from "Punk Jazz" and "Port of Entry," however, are two archetypicalexamplesof when Jaco was, simply put, ripping. "Punk Jazz" is Jaco's own composition, found on the WeatherReport album Mn Gone. The title comes from the term Jaco used to describehis own music. (He claimed he was using the term 'punk' long before it becameassociatedwith the movementthat yielded bandssuchasThe Sex Pistols and The Clash.)An interestingfeatureof this solo is that it containsfew of the patternsand licks Jaco often relied upon; instead,he employs bebop-like lines combined with a rock-like feel-truly "punk 147.7.
There is no specific harmonic progressionduring the opening bass cadenza,but there are extendedpassageswhere key areascan be discerned.There are two large sectionsthat comprise this tune: groups of 33 and 34 measures,respectively, divided by a loud and highly reverberateddrum accent.The most striking featuresof Jaco's playing are the speedand accuracy.The notes are clear and distinct, covering the rangeof low E through high D. At times, lengthy runs are facilitated by the use of the open G string, providing a meansto shift position. The downsideof this is that the timbre of the open string seemsto jump out-a twangy anomaly amidst warmly fingered notes.Be that as it may, it does nothing to detractfrom this ear-dazzlingsolo. Measures63-64 contain what might be a transposedquote from John Coltrane's"Giant Steps." Each phrase,separatedon either side by rests,has its own syntax and vocabulary.For example, measures34 through 40 are primarily tetrachordsconnectedby intermittent stepwisemotion. It is a lengthy phraseand one of the most sequential-one motivic idea, or subject, commentedupon many times with slight variation. Think of it as a conversationin which the speakermakesa concept or idea clearerby use of analogy-it's basically the samething, jusl presentedin a variety of ways. We understandthe core or the essenceof the idea as it is preservedfrom statementto statementvia the contour, interval choice, and rhythm. Measures45-48 contain a shorter phrasefeaturing larger intervalsthat ascendand altematelydescend-a kind of crest and trough that provides a senseofbalance. These kinds of organizational features subconsciouslycontribute to our perception of the phrase'smeaning; rather than being perceivedsimply as a collection of random pitches,Jaco's solo conveysa palpabledegreeof intent and purpose. A transcription such as this offers a glimpse into the creative mind of an improviser at the moment of expression.By playing this piece,we put ourselvesin Jaco'splace and experiencea musical vocabularyvastly different than our own. Perhapsthe most interestingaspectof studying this solo is decipheringJaco's choice of notes. If it was truly improvised, why were thesenotes chosenover others?What was Jacotrying to communicate?Properanswersto thesequestionsfar exceedthe scope of this book, but serveas a point of departurefor further study and dissemination.
Veryfast ) =Zgl N.C.
C o p y r i g h tO 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
T^AA'.
38
A'.AA'
39
40
SLANG By Jaco Pastorius A featureof every WeatherReport concertwas a solo perfbrmanceby eachof the musicians. ,.Slang" is a live recording of what many thousandsof fans heardJaco play during his years of touring. Most, if not all of you, are familiar with the classicjoke: "beware of when the drums stop-bcss solo!" And that joke isn't unfounded, so the idea of a solo electric bassperformancewas less than appealingto most. 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. Enter Jaco Pastorius-part Sid Vicious, part Jimi Hendrix, part Charlie Parker,and part Wilson Pickett. The order of eventsbecamestandardizedin a Pastoriusbasssolo: somehigh-registermelodic work, often including a variety of musical quotes,followed by a repeatingbass loop over which Jacooften quotesJimi Hendrix, then a feedback-drivenexplosion of distortedharmonics,cappedoff with somemore melodic work, and for good measure,a hearty back-flip off of his amplifrer onto his bass."Slang" would silenceall doubtersand add anotherchapterto the Pastoriusrevolution. Jacobegins"slang" with a melody startingon low F and interspersesharmonics,which sound out somefavorite Pastoriuschords:E7t9, Bm7, and Bbl3. He then takesoff with someblazing, albeit rough, chromatic lines that are part blues and part bebop.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, though anecdotal evidencesupportsthat Jaco got the idea from Alphonso Johnson.Jaco slapshis bassstrings with an open palm over the pickup while engaginga delay pedal that has the ability to repeat infinitely . This provides the tempo for Jaco's layered,three-partmotif that createsthe harmonic and rhythmic foundation over which he'll solo. The motif consistsessentiallyof the extensionsof an E9 chord (B-D-Fil) and includes their upper neighbors(C*-E-G{) as well. Once he establishesall of the layering, he hits the "repeat" function and becomesa one-man-band.He equalizesthe tone of the loop, preparingthe next sectionof his solo. Jacoplays a handful of licks in the upper register,mixing legato and staccatostatementswith the low E string. Most of the lines are mainly pentatonicand/orbluesy in a funk setting.At this point' he engagesthe distortion pedal and flies into a rendition of the Jimi Hendrix classic "Third Stone from the Sun." The audienceusually respondswith shock and amazement,which ushersthem into a new level of engagementwith the solo. The Hendrix section of the solo winds down with a large, deliberateslide down the bassneck, and Jaco returns to a clean tone, referring back to the melodic material he presentedearlier. The final sectionis announcedby disengagingthe bassloop and playing a Cmaj9 chord with harmonicsand a low C. Jacothen quotesthe first phrasefrom his composition"Portrait of Tracy" and slides deftly into a quote from "The Sound of Music." After his trademarkEb7*9chord, a distorted low A soundsfor a few seconds,followed by a crash on a distorted low E. This is the point where Jacohas undoubtedlyjumped off his amplifier, generatinga roar of applausefrom the audience If we standback and inventory the contentsof "slang," we get funk, bebop,Jimi Hendrix, and a dash of Julie Andrews, all combined with the showmanshipthat's part James Brown and part Bamum's Circus. The playing itself is enough to convince any listener of Jaco's enormousskill and talent, but combine that with the stagepresenceand the aura that surroundedhim, and it's easy to understandwhy Jacobecamelarger than life. A point that is often overlookedwith Jacois that it wasn't only his playing ability that madehim a virtuoso, it was also the virtuosity of his creativity and an innate ability and desireto entenain.In other words, "slang" worked becauseJacomade it work.
C o p y r i g h t@ 1 9 7 9 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
41
Free time
(c/E)
N.C.(F)
(F)
Solo Elec. bass
-_---w/ vibrato efl'ect
E uoF
E7ile
C
dt'a/------l
Harm. -
-
-
Bm7
B bl 3
dl'rl---
-a -
a s ts w i n Jg = t S o( n
=, ))
N.C. r
/i
hJ-.:{:
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 (nst u c h as drums).tempo markingsthroughclutthis sectionare approximate. x x * D e a d e ns t r i n g sw i t h p l u c k i n gh a n d
(Bb)
tAbr
42
(G)
( F f)
SlowerJ N.C.
=144(t
t''t
t)
-3
F a s t B e b o p) = 2 0 0 ( t .
.
.\/r
(87#9)
]q!
(cf 7)
rFf 9)
(A) (Af,") (B)
(E)
E7sus4 dl'rl
l
Harm. ri
Moderate Funk feel J = 108 N.C.
9vu (httlt l()l( e.\/
x Pluck stringw/ thumb while ntuting with the heel of the plucking hancl. r'* This sectionis perfbrmedwith an infinite delay effecttimed to half notes. Upstemmedcue-sizedn :,-. and tab numbersin parentheses indicateecho repeats.(The effect on the recordingcan be elnui.:::j 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 ds l i g h t l yo v e r d r i v e na 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.)
E9
Plrir'\;,,,. t
8tu (lxttlt yrite.s)-
End Bass l-oop I
:It-:::l
* x t : S l a pd e a d e n e sdt r i n g sp 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 .
w / B a s sL o o p I ( l 7 t i m e s ) ta
,{}''I'.AAA,..
J
TA'.
44
,AAA^'
^'|,!
E
w / BassLoop I (20 times)
E9
l*
J-J
w/ thumb
d,-iJ:l *O. | )'\r'-l
YI
45
-e 1
..-
E^J -J'FJ'
x Harmonics are producedby baning the 4th frer ofthe G. D & A strings with the index tins.r then playing the harmonicson the 7th frer ofthe samestrings with the pinky finger (*hilc still holding rhe noteson the 4th fret).
w / f t u m b- - - - - - , Harm. -
r--l
\J'
l--"--
4-
w
.----_----
-l
.t J
_-__-
-l
1.r
u/ thumb A.
Jf Jf^f'^\ t+4
Harnr
w
x 8r'a directionappliedto harmonicpitch only. Touch stringat the fret indicatetirn parentheses very lightly so as to allow both the harmonicand the stringro rrr.i
*x Waver the pitchesby bendingthe bassneck forward and backwardwith the frettinghand while anchoringthe bassbody with the plucking hand.
46
x'kt' Pitchec,and tab locations are approximate.
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
Cmaj9
qh.f +
E7(no3rd)
J
\y w/ dist. & vibrato ef-fect
* All upstemmednotesare harmonics.Pitchessoundone octavehigherthan written,
GIC w
* Df harmonicis producedby frettinga B on the 2nd fret of the A stringwith the index finger,then playing the harmonicon the 6th fiet of the A string with the pinky finger (while still holding the B). *x Touch stringat the fret indicatedin parentheses very lightly so as to allow both the harmonicand the ooen strins to rins.
Fi /i
)c I
,l
E;
Eb7fl,e
N.C.(As)
(E 5)
ri
, tF* , E-
q' N " +-
-j------
pp x'rx w/ dist.. vibrato efl'ect& delav
>k>k>k w/ random fdbk. and overtones
47
PORTOF ENTRY By Wayne Shorter The song "Port of Entry," composedby Wayne Shorter,is found on WeatherReport's Nigftt Passage.The song structurecan be divided into three main sections:a slow opening sectioncontaining the main melody,a double-timebassand percussionsolo, then a recapof the melody over the double+ime feel; a small tag capsthe piece.Jaco,using false harmonics,doublesthe first presentationof the melody and follows it with a deep but sparsegroove in C major, which leads to the bass solo. Harmonically, Jaco's solo straysfrom C major but remainslargely pentatonic.The rhythmic accuracy and clarity of the pitches,combined with a slightly distortedtone, adds a senseof urgency to the performanceand is one of the finest examplesof Jaco's monsEoustechnical ability. The first two statementsare almost exact transpositionsof eachother: the secondstatementa perfectfourth lower than the first. After a short lick in A minor (measure6), Jacofollows with the first of many pentatonic runs. The phrasing includes groups of four notes sequencedon the pitches G-C-A-G. In measure18, Jaco introducesa motif of arpeggiatedseventhchords,which descendin whole-stepincrements.The first three statementsare metrically separatedby an eighth-noterest, after which Jaco compressesthe motif to occur every quarter note. The first set of descendingseventh chordsincludesDm7, Gm7, andBm7. The secondset,in measure20, consistsof Dm7, C7, Cm7, and Bm7. This sequenceis interestingbecauseinsteadof simply planing the shapeof the seventhchord downward, Jaco shifted from C7 to Cm7, then on to Bm7. The chords aren't relatedby key, and the subtle adjustmentenhancesan otherwisepredictablesequence. Measure26 featuresanotherlengthy pentatonicrun, though this time Jacoplays groupingsof five notes that createsa polyrhythm betweenthe bass and drums. By accentingevery fifth note, the tempo appearsto be slower, which gives the illusion that somethingis slowing down despitethe fact the sixteenth notes are played at the same tempo. Supporting this effect is the fact that pentatonic scalesconsistoffive notes,so eachstatementhas a senseof completenessto it, reinforcing the arrival of eachnew "beat." Only a performer with the most precisesenseof meter can pull this off, otherwise it soundslike a conflict in the rhythm section. A new melodic grouping, consistingof a descending3rds followed by two consecutive2nds, sequencedby an ascendingsecond,occurs in measure32. The building tension of the continuous ascentis finally releasedin measures34 and 35, ending with anotherone of Jaco's trademarklicks: parallel 3rds descendingby step.The goal of this motion is the pitch A, which Jacoholds for one and a half measures,preparingthe arrival of the third large sectionof the tune. At the end of Jaco's solo, the listener is expectingchange,and Jaco'sclimax is a meansof backing out from all of the energy, so that the transition feels smooth and natural. If nothing else,Jaco'sperfoffnanceon "Port of Entry" raisesthe bar for technicalachievement on the bassguitar but it's much more than that. Providing a senseof unity and cohesionin a solo is a challengefor any improviser,especiallywhen there is no supportingharmony.Part and parcel to a senseof cohesionis the ability to enter and exit from a solo so that it appearsto be part of some larger structure,notjust a chanceto "wiggle your fingers." Jaco achievesall of thesethings, while simultaneouslyinfusing his very unique brand of musicianshipand creativity. Fast, = 174 (N.C.)
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 db y I R V I N GM U S I C , 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
21
s0
51
CHROMATICFANTASY Ananged by Jaco Pastorius On the afternoonof July 28, 1750,JohannSebastianBach lay dying; having dictatedhis final piece to his son-inlaw Altnikol, he beganto hear the first whispersof eternity.With his passing,we would mark the end ofthe Baroqueera and inherit a musical legacythat attainedgalactic dimensions. Arguably the greatestarchitectof music, 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.Jaco,like thousandsif not millions of others,found inspiration in Bach's music and documentedit with his recording of the "Chromatic Fantasy." The two qualities of Bach's music that contribute most to its universality and longevity are a focus on processand its own intemal logic. As a result, his music can be renderedon almost any musical instrument without suffering any aestheticloss; the focus is on the notes and structure,not the instrument. The PaganiniCapriceslose somethingwhen not played on violin, just as the Chopin Etudessuffer when not played on piano; their aestheticdelivery dependsheavily upon the instruments for which they're written. So it was only natural for Jacoto record a compositionby Bach on electric bass-but we usually find bassistschoosingfrom the Six Suitesfor Cello, certainly not the imposing "Chromatic Fantasy." The late Canadianpianist Glenn Gould, consideredthe foremost interpreterof Bach's works for keyboard,commentedthat the "Fantasy" is "...our best glimpse at Bach the improvrser versus Bach the organizer."A fantasy,or phantasia, is an instrumental work whose form and inspiration come solely from the one who composedit. They are usually very free and highly improvisational, but do retain a more or less recognizablesectionalform. The entirety of the "Fantasy" is actually much larger than what we find on Jaco's secondsolo recording, Word of Mouth. He only performs the first large sectionof the piece, as the rest is almost completely unplayableon the bassguitar. Jaco'stouch is very light throughoutin order to accommodatethe dramatic shifting required piece. of the In addition, he changedthe register of a few notes in order to keep it within reachable spaceon the bassguitar. It's an enormouslychallengingpiece to tackle, but a tremendousgift awaits thosewho make their way through it. This rendition addsto the growing list of remarkablefeatsJaco performedon the instrument,and it is a heartfelt tribute to who was perhapsthe greatestmusician of all time.
^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
AMERIKA By Jaco Pastorius Jaco'sthird solo albumwas a live recordingof his Word of Mouth Band and was releasedas a doubleLP in Japancalled TwinsI & II, referringto the birth of his twin boys. In the United States, the albumwas packagedas a singleLP underthe nameInvitatio,zr. Both versionscontainJaco'ssolo 'America bass affangementof the Beautiful." As "Portrait of Tracy" and "Continuum" showcase Jaco'sgifts as a composerfor solo bass,'Amerika" is an exampleof his boundlessimaginationas an affanger.The result is a remarkable,cantabilerenditionof an otherwiseunremarkablefolk tune. Perhapsthe most striking featureof this performanceis the sensitivityof Jaco'stouch. The gentleglissandi,slurs,and legatoruns defy the innateawkwardnessof the electricbass.The first phraseis decoratedby harmonicson G#,D, and F# over the chordEl . The additionof harmonicsis an integralpart of the texture,buffetedagainstthe low E, and A strings,with the main melody performed predominantlyin the middle range.The voice-leadingat the end of the first phraseincludes a chromaticascentin the bass,implying the harmonicprogressionA-F+7lA#-EIB-C+, via a subtle contrapuntalsecondvoice. The end of the secondphrase,measure15,containsa secondarydominant9th chordthat leads to the arrival of E major.Here,Jacouseshis right handto hammeron the bassnote B on the E string, as his left hand holds the three-notechord D#-A-C#. The run in measurel7 is a highly decorated approachto the pitch C#in measure18,executedwith flawlesstechnique.Jacoaltersthe articulation of the melody in measures21-24 by way of false harmonics-placing the thumb of the right hand halfway betweenthe fretted note and the bridge, then plucking behind it with the right-handindex finger.In measure25,,the bassnoteA is followed by Gf , which could be consideredthe 3rd of El (theV chord in A), and is then followed by an Ebl#9chord that resolvesto the subdominant,D major. So beneaththe activemelody,thereis a descending bassline A-E (implied)-Eb-D.A reductionof the voice-leadinewould look like this:
The final phraseof the melodyis accompanied by yet anotherchromaticbassline, ascending in half steps,implying a circle of fifths progression: D-B71D|"-E-C#7lEI, resolvingto Ffm. Jacofollows this gentle,poignantstatementwith the subdominant, D major,and endsthe piecewith a rapid one-octavescalein A. This movingrenditionof 'America the Beautiful"would becomeone of Jaco's hallmarksand is yet anotherexampleof the rangeof expressionsolo electricbasshas to offer.
54
C o p y r i g h tO 1 9 8 4 M o w g l i P 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
Tempo Rubato *A dl(r --
I
++e
l---\
l1
..t /t
)
Harnr.-
8 r ' t r- - -
55
E9
\l a-
-l_
1
(f'-f,r
|==----=
A/cf
D
A/C#
I ,-L
87/D#
c#7tEf.
F#m
.)-)
N.C.(A)
56
DAYSOFWINE AND ROSES Lyric by Johnny Mercer Music by Henry Mancini In the summer of 1986, Jaco traveled to the West Coast to play some club dateswith drummer Brian Melvin, with whom he made contacta few yearsprior. Togetherthey made severalrecordings, including what was to be Jaco's lasl-Standards Zone. Pianist Jon Davis joined Pastoriusand Melvin for a CD comprisedof well-known jazz standards,suchasTadd Dameron's"If You Could See Me Now," and Henry Mancini's "Days of Wine and Roses."This is the first time Jaco was f'eatured in a trio setting, and his playing is hardly reminiscentof the youthful abandonfound in his first trio recording, Bright SizeLife.Instead, the performancesare more subduedand restrained,perhapsthe result of a lifetime's worth of experiencesduring the interveningten years. Jaco solos through two chorusesof the form, predominantly supporting the harmony b1 including chord tones.The first chorusconsistsmainly of eighth-notephrasing,while the secondchorus is a mixture of eighths, triplets, and sixteenth-noteruns. In addition, the secondchorus is more fragmentary,with shortenedphrasesand little motivic development. figure descendingb1'half In the first chorus,measure13 featuresa dotted-quarter/eighth-note step,alternatelycovering the 7th and 3rd of Em7b5,Aib9, Dm'l , G7. The phrasecontinueswith a B' for the Gm7 chord, but a short pausebefore it breaksup the predictability of the sequence.Jaco add: a b9 over the C7 chord, plays through the tumaround, and extendsthe Eb7 chord in measure l8 b1 adding the 9th (F) and I lth (At). From measure7 through measure24, there is very little breathing room, creatinga continuousflow of melodic ideas.In measure24, Jacoutilizes the often-usedtriplets phrasedin groupsof five. Despitehis frequentuse of this device,the effect is no lessdramatic.As the tumaround approaches,Jacowearshis influenceson his sleeveand tagsthe ending with a figure from the Jimi Hendrix song "The Wind Cries Mary"-though he decoratesit with a root-5th-gth pattern. The secondchorus begins with an F major pentatonicfill, followed by three measuresthat contain only a few staccatoeighth notes.Measure 38 featuresa rather indeterminatesixteenth-note run that partly destabilizesthe pulse,but it is soon re-establishedin measures40-43. In measure.{5. Jacoplays a descendingarpeggiomixing eighth notesand eighth-notetriplets that he sequencesdo$ n one half stepin the following measure.Measures47-51 seemthe leastorganized,asJaco stabsin and out of the harmony until measure52. At measure58, he begins winding down the solo by using larger note values,primarily playing the root notes of the harmony.In measure63, he once again plal s the Hendrix tag, preparingthe retum of the melody.
E ) = 154 FmajT
Bbm
O 1 9 6 2W A R N E R B R O S . l N C . ( 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
Dtbsbe
58
BmTb-5
FmajT
D 7bsb9
59
l1m / b-)
D7b5be
Bbm
Bm7b5
Am7
DrnT J-
60
CONCLUSION A consistentquality of the solos late in Jaco'scareeris that they start out rather strong,begin to wandera bit, and then consistmainly of pattemsand licks that Jaco usedall the time. Comparethe style and techniqueof the "Days of Wine and Roses" solo with that of "(Used To Be a) Cha Cha" or "Donna Lee." Even during his years with WeatherReport, his solo basswork seemedto plateauconceptually,though it never weakenedphysically. This is somethingJaco himself commentedon, stating in a 1983 interview "I'm still using the same[stuft] that I played eight years ago."Throughouthis entire career,his impeccablesenseof time and rapid-fire chopsremained,but as the yearswent by, he relied more and more on ideasfrom the past.This is not a criticism per se-rathe1 it's a commentary on an interestingproperty ofprodigy and innovation; after the initial flash ofcreation, innovatorshave the tendencyto orbit aroundtheir primary contribution. In Jaco'scase,his initial offering revolutionized every aspectof the instrument,which took the audienceseveralyears to apprehend.Once the world caughtup with him, and bassistsall over were copping his style, he was assimilatedinto a global musical lexicon and no longer receivedthe credit for his innovations.This, combined with manic depressionand addiction, affected Jaco's ability to further develop his craft. Despite the manifold number of storiesthat perpetuatethe Pastoriusmythology, it's his music that illuminates the brilliance of his legacy.While many can empathize,to somedegree,with Jaco when he was at his worst, few if any can compare with him when he was at his best. It is precisely tftis aspect of his legacy that deservesour undivided attention,not the sordid details of a man suffering from illness. There is a tremendousbody of work that Jaco left us that has yet to be thoroughly disseminated.Despitethe worldwide availability of his recordings,thereis much more to learn abouthis compositional developmentas well as his stylistic developmentas a collaborator-as both sidemanand alranger.Hopefully now, more and more of Jaco's work will begin to surfaceand becomeavailable for study, so that we can further understandthe tremendousgift he left us and passit on to the next generationof bassists,composers,and humanity.
61
ABOTJTTHE AUTHOR SeanMaloneis a bassistand composerwho hasperformedand recordedwith musicianssuch as Bill Bruford, SteveHackett,Trey Gunn, SteveMorse,Mike Portnoy,ReevesGabrels,JohnMyung. and Mike Keneally.Seanhas appearedon over 50 recordingsand has performedthroughoutEurope andNorth America.His latestCD, GordianKnot - Emergent,rs availableworldwide from The Laser's Edge (www.lasercd.com). Sean'swebsitecan be found at www.seanmalone.net. In addition,Seanhas a Ph.D. in Music Theory from the Universityof Oregon,where his researchinterestsincludedmusic cognition,absolutepitch, and Schenkerian Analysis.He has publishedand presentedhis researchon the late CanadianpianistGlenn Gould at music theory conferencesin Canadaandthe U.S. Seanis alsothe authorof the Dictionaryof BassGrooves(Hal Leonard).
SELECTDISCOGRAPHY: SeanMalone SeanMalone SeanMalone Cynic VariousArtists VariousArtists VariousArtists
Cortlandt Gordian Knot Gordictn Knot - Emergent
Focus WorkingMan - A Tributeto Rush Guitars That Rule the World vol. 2 BassTalkvol. 5
AudiolmageRecords Sensory Sensory RoadRunnerRecords Magna CartaRecords Metal Blade Records Hotwire Records
ACKNOWLEDGMENT Thanks to: Everyoneat Hal Leonard,Yoko Miyama for the patience,Carl Woideck for the facts,Ampeg,DR Strings,and SteveHoek at SeratoSoftwarefor use of their plug-in for ProTools@ "Pitch 'n Time" (www.serato.com).
62
