Customer Reviews

Jaco

5 star:		(12)
4 star:		(2)
3 star:		(2)
2 star:		(2)
1 star:		(3)

 

 

The negative reviews on this page simply prove that many of the lovers of so-called "jazz-rock fusion" lack any sensitivity to the language of "jazz." Jaco was certainly one of the greats, but like others of his generation such as Stanley Clarke, Al Dimeola and others, he was frequently capable of degenerating into empty displays of abundant chops. His compositions ran the gamut from the sublimely inspired to the pedestrian. Most of the showcases of his virtuosity find him in the light fusion or instrumental pop settings of Joni Mitchell or late Weather Report. Can Jaco's fans broaden their ears beyond the same old versions of "Birdland," "Teen Town," "Blackbird" and bad Jimi Hendrix imitations? In my opinion, there are very few documents of Jaco actually using his electric bass to play in what I would consider a real jazz context, and this CD gives us such a rare opportunity. The compositions range from abstract but composed works by Carla Bley and Annette Peacock, to free blowing sessions. Although all the musicians on this date are virtuosos, neither Jaco or any of the other players are going to blow you over with chops here, this is a session in which the players weave organic compositions with great sensitivity and group interplay. On the other hand, they do take solos which are excellent and musical. Paul Bley has gone on record saying that he feels this was one the first recordings to blend the language of late 60s free-jazz with electric instruments. In this light, the recording is a masterpiece and has much to offer. Ignore the simple-minded comments - there is a huge amount to love and learn from this recording. It is one of the great unsung works of electric jazz.

The brilliance of this album is that you get to hear all of Jaco's cliche lines (and you know which ones I'm talking about) before they became cliche. For those of you can't handle a Jaco album without Teen Town or Donna Lee, this one might not be for you. Another interesting thing about this album is that Pat Matheny comes off sounding like some sort of bastard child of Jimi Hendrix and a lot less like Pat Matheny. I think the compositions as a whole are a lot more interesting than on the famous "Jaco Pastorius" album. But that's just my opinion and most would probably disagree and say that tracks on this album for the most part ramble on, sort of like 1970-1975 Miles. But as with those important recordings by Miles, that may be the beauty of the compositions on this album. The compositions on this album are highly impressionistic and need room to breath and grow. Like all great works of art, such as Larry Sanders or The Lamb Lies Down on Broadway, every listen of this album reveals something new and fresh--not something that I necessarily get every time I listen to the "Jaco Pastorius" album.

I am not sure the folks who gave this CD poor reviews bothered to listen to the actual CD. I tend to think maybe they just listened to the above samples, which could lead to a lack of interpretation. I find this album to be one of the more intense, edge of your chair types. The second side(LP), or Vampira to Blood are actually one continuous song. When played together, they are seamless, and almost nerve-racking. I don't think of this album as a waste of talent, I believe upon closer inspection it becomes clear this is a well conceived and executed album, a circus freak show for hardcore jazz enthusiasts. Right on to the reviewer who Jesus couldn't place syncopations like Jaco did. Jesus would be happy!

This is a CD that influenced an entire generation of creative musicians. Jaco Pastorius is on fire and teamed with equally hot, but under-recognized drummer:Bruce Ditmas. This is a recording by Paul Bley on his IAI Label with the usual tunes from his repetoire of Carla Bley and Annette Peacock, and also includes early Pat Metheny. Pat has always said he hated this CD , but his playing on wah-wah flavored free-style wash guitar is an early forerunner of his late free improv stuff with Ornette Coleman and Derek Bailey. He s a little low in the mix but if you listen intently you can hear his burning lines. <and speaking of burning...Jaco just rips it up. A must buy!!!

These negative reviews are either uneducated or just careless. Jaco is pumping out syncopations and accents where jesus couldn't even fit them in. If you think it is so "off beat" then maybe you dont comprehend the infinite rhythms of the universe

For a while I've noted (with some bewilderment) a cache of negativity posted here with respect to this album. I've been playing it (on LP) for years and consider it a landmark jazz recording that is little understood and now virtually forgotten.

This date was essentially a Paul Bley release--a recording he made "secretly" and released on his Improvising Artist's label. But whether or not it was Jaco's date is not all that relevant. What is significant is that here --as elsewhere-- Bley possessed the instincts he showed throughout his career for appearing at the right time with the right people. Metheny and Pastorius were on the threshold of changes which would forever alter the vernacular of their instruments. The electric bass has never been the same since this album.

Bley, whose career began early in the 1950's on Mingus' Debut label has been one of the most overlooked piano players in modern times. His history of associations trace his many influences-- Mingus, Ornette, the much-overlooked reedman Jimmy Giuffre, and especially ex-wife Carla Bley and the composer Annette Peacock. As is the case with the writing of Carla and Annette, his mid-60's free playing was a key inspiration to many in the early phase of "fusion"-- a word which still meant something serious between 1968 and the mid-70's.

This is the album that charts that association.

It is also one of several seminal recordings for anyone interested in music from those years or anyone who rejects the notion that improvisational music ended when it "plugged in". The current ideology of neoclassicism which has lodged itself in some circles of jazz criticism dismisses most of the music of this period as inconsequential. This amazes me considering the many avenues in which the music moved forward. Even the developments of 70's big-band composing and arranging (Toshiko Akiyoshi, Sun Ra, to name two) have been neglected.

Contrary to what you may have heard from the Ken Burns series, the music continued to grow spectacularly during that decade.

If anything, landmark albums like this one have increased in stature for some of us, and the non-commercial quality of it is an antidote to a good portion of today's fare--much of which feels like buying a good pair of retread tires.

Think what you will, there are many of us out there who consider Jaco Pastorius to be the most influential musician to emerge since Jimi Hendrix. I would be interested to hear who else has had this much impact on the general approach to an instrument in the last 40 years. This album is historic for several reasons, not the least of which is that it's the earliest example of Pastorius with fully developed chops. His warm tone and unsurpassed subtlety of execution are already in place. His playing here is confident--mature--as much so as anyone in the mid-60's Miles Davis Quintet.

Needless to say, if you buy this album you need to play it more than once. That pertains to almost anything Bley ever did. That's the point of Paul Bley. There's nothing overly cued or "obvious" about anyone else's playing here either--Bruce Ditmas, Metheny and especially Jaco--all weave beautifully subtle lines to the spell of Bley's complex approach to harmony. The album flows uncannily. The players respond to each other in interesting ways. Some have called the playing rambling or aimless on this album...give it another shot. The second side is seamless- one tune flowing into another and everyone stretches out. The tunes are mostly Annette Peacock and Carla Bley compositions--tunes which certainly lent themselves to the energy that runs through this album like a bloodstream. After all these years it's still difficult to shut off.

Metheny was very young at the time of this recording but there are many aspects of his playing which clearly suggest the multilayered paths he would soon establish for anyone who loves guitar. He's playing "outside" here - something he continued to do throughout his career on certain sessions (Song X for example). The earliness of this Metheny date alone should justify the cost of this now-hard-to-locate cd. The Carla Bley composition Vashkar opens side one-- a fusion-totem of sorts, tying it in lineage to the Tony Williams Lifetime album Emergency several years earlier. But perhaps even a tad more than Emergency, this album has stood the test of time.

My only regret is that the group did not include a cover of Carla's ballad "Ida Lupino", which Pat and Jaco would soon be playing at club dates in Boston shortly after this recording.

Bley's only moog project wins at many levels. Subtle it is. Smokin' it is. And sheer creative it is. 4 Stars. It lacks a coherent theme. "Thats the point", some say. "No"; there is always a discernable mission. Even "loose association", can't be found here. Non-the-less, a most pleasent of musical experience!

This is Jaco's breakthrough album. With arrangements by Carla Bley and Pat Matheney on guitar, Jaco is in good company. Still, the structure of this album is obviously a product of its time. It sounds like the kind of sprawling fusion that the mid-seventies was famous for. This is Paul Bley's only electric album.

If you are a discerning free-form jazz aficionado, or in the process of discovering John Francis Pastorious the III, "the greatest electric bass player in the world"... you may be disappointed here.

Some musicians attain a cult following that is blindly loyal and buy anything they release, defending it with blood should anyone be critical. Jaco Pastorious was such a legendary figure, who deeply touched those who fell to the spell of his music and enigmatic persona. One can be forgiven for thinking that if Jaco were not involved here, this CD would not have seen the light of day. This review is not a put-down of this CD or a castigation of the artists, rather a humble opinion reflecting the quality of the music considering what these musicians are capable of.

If you're after a good representation of Jaco's awesome talent, look for the CD "Weather Report the Jaco years" number 40, from the "This Is Jazz" series, or get hold of his original debut self titled album "Jaco Pastorious". As far as this one is concerned, so long as you don't expect fireworks or anything extraordinary, it's ok music that you'll probably like the more you listen to it. All the nice sounds are there, in a dreamy spaced-out fashion, but very average reminiscent of Conservatorium students doing a little free form jazz.

I'm a huge fan of the musicians but not a fan of this work. I'm lost and I think they may have been too. Jaco does not shine here. He is poking, along with Metheny, they are just poking at something - I don't know what. I also agree with another reviewer that the recording is not of good quality. The studio engineer and Producer (Bley) get zero stars.