Customer Reviews

Jaco Pastorius

5 star:		(57)
4 star:		(6)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

At long last, the stunning debut album by Jaco Pastorius gets the royal treatment by the folks at Sony Legacy. Recorded in 1976 prior to joining Weather Report, it's clear from the first bar that this man is serious business!!! From the opening track, a cover of the Charlie Parker classic "Donna Lee"(written by Miles Davis) featuring Jaco only accompanied by a conga player to the final cut "Forgotten Love",it's very apparent that we're hearing something we've never heard before. Pastorius took the bass from being a support instrument, to front and center, without being tedious or overdone. Other highlights of this album include "Portrait of Tracy", and "Continuum". "Jaco Pastorius" features excellent support from the likes of Herbie Hancock, Hubert Laws, David Sanborn, Michael Brecker and Lenny White. This reissue also features two unreleased tracks that were not part of the original LP. The booklet features rare photos from the recording sessions and has great liner notes written by Pat Metheny. The 24-bit remaster is a tremendous sonic improvement over the original CD issue and the disc label even has the original orange Epic logo on the disc. A first class reissue of a fusion jazz classic.

"..and I'm the greatest bass player in the world."

Big words, eh?

Jaco Pastorius didn't just make himself known by sharing the above statement with everyone who'd listen, however: he was (and remains) an unparalleled musical giant because it was quite simply the truth. The first track of his self-titled debut alone is a stunning jaw-dropper, a bare-bones rearrangement of Miles Davis's "Donna Lee" where Jaco's bass handles all the voices and harmonies in one unbelievable tasty dance of fretwork. (Maybe that's not the best word since his trademark bass had its frets removed, but nevermind.) Jaco's onmivorous musical mind meant that he wasn't content just to become a virtuoso player; he brought the bass to lead-instrument possibilities it had never seen before and his talents extended to brilliant composition & arrangements as well. Add to that the fact that he was 24 years old when this album saw the light of day, and.. the mind just boggles.

Besides that scorching opener, this disc offers a wildly colorful ride with a different face and mood for each track. "Come On, Come Over" is 70s soul/funk with Sam & Dave dropping in for the album's only vocals. "Continuum" and "Portrait of Tracy" are gorgeous ballads.. the former a small-band gem with the bass as lead voice, the latter a breathtaking solo. "Okonkole Y Trompa" is groovy and mysterious with perhaps a hint of some kind of black magic; "Opus Pocus" is a slow-bouncing tropical romp full of steel drums and some (perhaps dated) electric piano. "Cha-Cha" continues that feeling, replacing those tones with some sprite-like piccolo and flute that flit exuberantly all over the place, not to mention some brilliant Herbie Hancock piano work. "Forgotten Love" adds to the somewhat-overdone factor with a seventeen-piece string section backing Hancock (JP doesn't play), but it shows off Jaco's skills as a writer perhaps more than any other selection here. Through it all the bass playing is phenomenal and unmatched, whether he's blending with the crowd or coming out in front to let his instrumental voice soar.

The mood overall is largely tropical (there are plenty of congas), and the prevailing spirit is one of joy and playfulness. If its electric-piano tones and occasionally overdone strings might make it sound somewhat dated in spots, I for one don't hold that against it. The level of sheer creativity and brilliance that went into making this album.. not to mention the virtuosity to pull it all off and the collective straightforwardness to avoid sounding flashy or pretentious.. shouldn't be missed. If you want more of an electric fusion experience you can go for Word of Mouth or the Birthday Concert disc also, but if you want a variety-packed glimpse into the development of a musical genius and don't mind some decidedly 70s elements, pop for this CD and prepare to get carried away.

Jaco Pastorius was undoubtedly a brilliant musician, in every sense of the word. Not only was he an incredible bassist, but he was a gifted composer, who really knew how to get the most out of his instrument. This, his first solo album, is excellent from start to finish. There's plenty of diversity here, and a regular who's who of musicians backing him up. The list includes David Sanborn, Herbie Hancock, Wayne Shorter, and many more. There are three drummers on here, Bobby Economou, Narada Michael Walden, and Lenny White. All three put on a great performance, but Lenny's is undoubtedly the most impressive.

As I mentioned before, this album is very diverse. There are two bass solo songs (only bass). The first, "Donna Lee", is the opening track, and is a prime example of Jaco's incredible prowess. The second, "Portrait of Tracy", is more laid-back, and shows that in addition to being a technical virtuoso, he had a great sense of melody as well. "Come On, Come Over" has more of a 70's funk feel, and is the only song on the album to feature vocals. "Opus Pocus" is a bit unusual, with odd complex bass work, and some cool steel drums to give it a bit of a tropical feel. "Forgotten Love" doesn't even have Jaco on it, and is perhaps the least interesting track here, but still a nice tranquil piano piece. "6/4 Jam" is a bit repetitive, but Lenny's jaw-dropping performance makes up for it.

The best songs, without a doubt, are "Kuru/Speak Like a Child" and "Used To Be a Cha Cha". Both feature some very fast and infectious basslines, and incredible piano from the great Herbie Hancock. Very technical and diverse songs, with great melody as well. At around 8 minutes each, both go by quite fast.

So there you have it, an excellent album from one of the best bassists of all time. Highly recommended to anyone with even the slightest interest in jazz. I haven't heard quite enough to say this accurately, but this is possibly one of the best albums of the genre. Definitely a must-have.

Everything has been said about this man already and yet it will never all be said about him. Everyone I've had listen to Jaco is immediately astounded, even though this album is nearly 30 years old (older than Jaco was at the recording session). It never gets stale and it even reaches out to my own young boys of 10 and 12. Jaco should be entered into the music history dictionaries along with other great virtuosos.

This debut album is certainly a must and should not be missed from anyone's collection, no matter what your taste in music.

Good follow-up is to read about his life and family through the family website(s), the biography written about him and to explore his other work with Weather Report, Joni Mitchell, Pat Mathaney, etc...

Jaco's first solo record proves to be the most important and influential recording in the history of the electric bass. I invite listeners from all other forms of music to try and find another bass player other than old jazz cats like Charles Mingus and Scott LaFaro who did more for the bass than Jaco has. He single-handedly showed us new directions we could take the instrument in. Modern players like Victor Wooten, Marcus Miller, Flea, and Les Claypool owe an immense debt to Jaco Pastorius. This record holds even more weight, because it was recorded all the way back in 1976. Jaco totally revolutionized the electric bass.

'Donna Lee,' an arrangement of a Miles Davis song, is just about the closest you could get to a bassist who 'shreds' in the style of monster guitarists like Malmsteen and Vai. Every note is played clean and clear - Pastorius is a perfectionist and he makes no mistakes on this opening piece. This is followed by the only track with vocals, 'Come On, Come Over.' It features Sam and Dave on vocals, and I predict that one day Quentin Tarantino will use it in one of his movies.

Pastorius shows his versatility through his mastering of natural harmonics on the sublime 'Portrait of Tracy.' He also shows his versatility in playing slow using plenty of vibrato and slides in other tracks like 'Ocus Pocus' and 'Continuum.' Keep your ears open for elements that would sprout up in all forms of music from Rock to Rap to Hip-Hop to Country following this debute record.

In my opinion, the true highlight of this record is 'Used to be a Cha-Cha' which is another arrangment of Charlie Parker's 'Ah Leu Cha' which is also covered by Miles Davis on his ROUND BOUT MIDNIGHT lp. The track features Herbie Hancock and is a fusion barnburner full of solos from Hubert Laws, Hancock, and an hypnotic looping bass line from Jaco. The alternate take bonus track on this edition is a gem, with Hancock shining even more.

Listen to what I have to say about Pastorius and this record. If you don't believe me then look no further than Herbie Hancock, Wayne Shorter, and Randy & Michael Brecker, all of which are featured on this pioneering release. If you are a bass player, or simply call yourself a fan of the instrument, then anything Jaco has ever done belongs in your collection, including his solo material, his work with Pat Metheny, and his late involvment with the fusion supergroup, Weather Report.

I honestly cannot praise this album enough. Although each song has a different personel and a completely different feel, the whole album feels like one concise unit, making it hard to name a standout track.

"Donna Lee"- a glorius, and pretty damn hip, intro to the record. Just a duet with percussionist Don Alias.

"Come On, Comne Over"- written by Jaco and Bob Herzog, who was originally supposed to do the vocals. Famous for featuring Sam & Dave and Jaco's ultra-funky 16th-note groove.

"Continuum"- a beautiful composition featuring Alias and the great Herbie Hancock. Herbie's electric piano (fender rhodes) playing is a great compliment to Jaco's singing bass.

"Kuru/Speak Like A Child"- a jazzy tune propelled by a string section and Herbie's fantastic acoustic piano playing. Like "Cha-Cha", Hancock is integral to this tune. Oh, and the bass ain't bad either.

"Portrait Of Tracy"- a beautiful bass solo by Jaco. Filled with harmonics, learning this song is a rite of passage for aspiring bassists.

"Opus Pocus"- a calypso-tinged jam featuring steel pans player Othello Molineux and Weathe rReport saxist Wayne Shorter. An awesome tune.

"Okonkole Y Trompa"- tasteful percussion, Jaco's propeller-like bass figure, and a solemn French horn turn this into a track much like "Contuinuum". Just a nice ensemble of players.

"(Used To Be A) Cha-Cha"- dominated by Hancock's piano playing (acoustic), it also features some heavy flute and clavinet work by Hubert Laws, and some sweet solos by Jaco.

"Forgotten Love"- Herbie is the star of the show in this finale, as Jaco does not perform. A beautiful way to end the original album.

The bonus tracks are also interesting. While the retake of "Cha-Cha" may only thrill fans, the brand-new "6/4 Jam" is a treat to all, with it's funky bass and distinctive time signature (which is obviously 6/4).

All, this record is not just for bass players. It's not just for jazz fans. It's not just for breakfast anymore. This is an album where music lovers of all kinds can come and appreciate the talents of one man: John Francis Anthony Pastorius III. Or, simply call him JACO.

It is difficult to say too many good things about the music on this CD. Certainly bass players, as well as all musicians, will be amazed upon their first (and subsequent) listenings to this CD. I also expect the casual listener to be mesmerized by the beauty, grace, power, and emotion in Jaco's music. This is a nice collection of a variety of Jaco's styles, from the funky groove of "Come On, Come Over" (with Sam and Dave on vocals), to echoes of Calypso on "Opus Pocus", and a wonderful duet with percussionist Don Alias on Charlie Parker's "Donna Lee". Bassists in particular will be fascinated with Jaco's use of harmonics in his original tune "Portrait of Tracy", recorded solo, without overdubs. Highly recommended; the perfect "starter" for newcomers to Jaco. Guests include: Sam and Dave, Don Alias, Herbie Hancock, Michael Brecker, others.

I decide to write this review because i've read the stupid things that one stupid man wrote about my Jaco. I bought this cd listing to the man that gives me my first bass. He said:" if u want to know the greatest bass player of all time, if u want to listen the best album about using a bass, buy the first Jaco Pastorius album." I bought it. No words can descrive how small that i felt in the moment the first time that Portray of Tracy played on my stereo. No one can have. I think nothing is the same before Jaco. He let me love my bass as i love my girlfriend. If u don't like Jazz, don't buy this cd. Get it only if u like music.

In the mid-70s, punk obliterated prog-rock. Many teenage lads like myself jumped ship and discovered there was innovation by the bucketload going on in the controversial jazz-rock field. Though there were many groups challenging in the first division -- such as Nucleus, the Eleventh House, Isotope, the Mahavishnu Orchestra and the Brecker Brothers -- the arena seemed to me to be dominated by two bands: Corea's Return to Forever, and Shorter & Zawinul's Weather Report. Besides recording an annual group album, the individual members (and ex-members) of these two bands could issue up to ten solo albums each year between them.

Weather Report was notorious for the instability of its rhythm section, and Joe Zawinul could hire and fire several percussionists during one of Wayne Shorter's increasingly rare sax solos. Whether you include or ignore the mysterious Andrew White, who contributed the fantastic bass on 'Sweetnighter's wonderful 'Boogie-Woogie Waltz', it is impossible to deny that Zawinul picked some virtuoso bassists for the early albums: Miroslav Vitous, Al Johnson and Jaco Pastorius. All three made solo records, of which I bought several.

But Jaco's is the only LP which I have since replaced with CD. It is quite simply breath-taking. Nothing that, say, RtF's Stanley Clarke recorded comes close to this in terms of technique or originality. It is astonishingly varied, and maybe some of it is stuff to marvel at rather than tunes you'll catch yourself humming. The string intro for 'Kuru/Speak Like a Child' has been much sampled over the years, and I suspect that even Chic were influenced for one of their 1978 records. In the 25 years since first buying this record, I've never heard anything remotely like 'Continuum' or the deeply personal 'Portrait of Tracy'.

I like the new tracks on this re-issue -- particularly Lenny White's drumming on '6/4 Jam'. Pat Metheny's extensive sleevenotes are revealing. (Why did Jaco not record a track with Pat for this album?!)

I saw Jaco twice in concert with Weather Report, and he was appreciated more for his group contribution than his somewhat indulgent bass solos. But this is how I will remember him, at his most talented, eager for the limelight, somehow developing a greater on-stage understanding with Joe Zawinul than Wayne Shorter could muster. He was a great, inspired artist.

Jaco is the only bass player who ever walked the earth that could actually release a listenable solo bass album. Let's face it, when bass players solo, people usually leave for the bathroom.Jaco forces you to tighten your sphincter and stay in front of the stereo. He is truly a saint with his fretless Fender. Even if you aren't a bass player, or if you think the bass is just a big boring guitar, you will understand the justification for Jaco's legacy after listening to this album.