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Jaco Pastorius BasszusGitár : Jaco Pastorius (1951-1987) R.I.P.










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    Jaco Pastorius:
    Életrajzi adatok Teljes név John Francis Anthony Pastorius III Született 1951. december 1. Norristown, Pennsylvania USA Elhunyt 1987. szeptember 21. (36 évesen) Fort Lauderdale, Florida USA Pályafutás Mûfajok fúziós-dzsessz, funk, dzsessz-rock Aktív évek 1964–1987 Együttes Weather Report, Trio of Doom, Word Of Mouth Hangszer basszusgitár Kiadók Epic, Warner Bros., Columbia, ECM, CBS Records
    Jaco Pastorius:

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Jaco Pastorius (született John Francis Pastorius III) (Norristown, Pennsylvania, USA, 1951. december 1. – Fort Lauderdale, Florida, USA, 1987. szeptember 21.) jazz basszusgitáros és zeneszerzõ, virtuóz technikájáról és játékstílusáról vált ismertté.
    Bármilyen hangszeren tudott játszani, valószínûleg ennek is köszönhette, hogy basszusjátéka nem szûkült be a szokásos basszus-sémákra. Az elektromos basszus elterjedésében és általánossá válásában nagy szerepe volt, akárcsak a basszusgitár szólóhangszerként definiálásában. Sajátos hangzásvilágot, textúrát, harmóniai érzékenységet alakított ki rövid de intenzív pályafutása alatt. Sikerességét nem tudta magabiztossággal kiegyensúlyozni, miközben generációk tekintették példaképüknek és mesterüknek, inkább az alkoholhoz és a drogokhoz fordult, s ez korai halálát okozta.
    Élete : Korai évek Noha Pennsylvaniában született, családjával együtt hamarosan Floridába költözött, Oakland Park-ban nõtt föl. Iskoláit is itt végezte, elõbb a St. Clement's Catholic School-ban, majd a Northeast High-ban tanult.
    Zenei tanulmányaiban meghatározó volt apja, Jack Pastorius, aki maga is dobos volt, és fiát is tanította erre a hangszerre. Jaco tizenöt évesen kezdett el basszusgitározni. A Las Olas Brass nevû formáció tagjaként játszhatott Aretha Franklin, Otis Redding, Wilson Pickett, James Brown és a Tijuana Brass számaiból. Már itt megbizonyosdhatott arról, hogy hangszerválasztása helyes volt, ráadásul egy sportsérülés bal csuklójának és kezének mozgását is befolyásolta.
    Életének legmeghatározóbb elemévé vált a zene, már 1974-tõl együtt játszott barátjával, Pat Metheny-vel. Elsõ albuma, az 1976-ban megjelent Jaco Pastorius áttörést jelentett az elektronikus basszus világában. Sok kritikus a valaha volt legjobb basszus-albumnak tartja azóta is, talán csak Stanley Clarke School Days-e veheti fel vele a versenyt. Ugyancsak részese volt Jaco Pastorius Pat Metheny Bright Size Life címû albuma elkészülésének, mely ugyancsak hatalmas sikert és áttörést jelentett. Nem sokkal e lemezek megjelenése után hívta tagjai közé a fúziós jazz akkori egyik legjelentõsebb csapata, a Weather Report, melyben együtt játszhatott Joe Zawinullal és Wayne Shorterrel 1981-ig. A Weather Report-tal töltött idõ alatt vált Jaco Pastorius a jazz történetének kitörölhetetlen alakjává, amikor minden idõk egyik legnépszerûbb jazz-albumát, a Heavy Weathert elkészítették. 1980 és 1984 között saját zenekara, a Word of Mouth társaságában is koncertezett.
    Mindeközben természetesen más zenészekkel is együtt játszott, több tucat lemez elkészítésében közremûködött, többek között Joni Mitchell: Hejira (1976), Don Juan's Reckless Daughter (1977), Mingus (1979) és a koncertalbum Shadows and Light (1980) esetében.
    Betegsége és halála [szerkesztés]Már a 80-as évek elejétõl tapasztalható volt, hogy Jaco Pastorius mentális problémákkal küzd. A mániás depresszió tüneteit mutatta viselkedése. Állapotát erõsen befolyásolta a kemény drogok és az alkohol fogyasztása, bár ezek csak felerõsítették szokatlan viselkedését. Számos anekdota számol be Jaco különc viselkedésérõl és excentrikusságáról. Zenei játékán is egyre többször mutatkoztak ennek jegyei, bár sokat játszott Fort Lauderdale és New York City színpadain, csak kereste önmagát. Végül már a zenész társadalomban sem találta a helyét.
    Utoljára 1987. szeptember 11-én lépett színpadra, titokban, Carlos Santana koncertjén. Innen a floridai Wilton Manors-ban lévõ Midnight Bottle Clubba ment, ahol egy kidobóemberrel történt összetûzésekor elvesztette eszméletét. Kómába esett és visszafordíthatatlan agykárosodást szenvedett. Szeptember 21-én halt meg, tíz héttel 36. születésnapja elõtt. Támadója négy hónap börtönt kapott.
    Marcus Miller, aki számára Jaco volt a legfõbb inspiráció, hogy zenész legyen, „Mr. Pastorius” címû dalával búcsúzott tõle, mely felkerült Miles Davis Amandla címû albumára is.


    Diszkográfia:
    Szóló/zenekarvezetõ
    Jaco Pastorius
    Word of Mouth
    Weather Report
    Black Market (1976)
    Heavy Weather (1977)
    Mr. Gone (1978)
    8:30 (1979)
    Night Passage (1980)
    Weather Report (1982)

    Egyéb:Joni Mitchell – Hejira; Don Juan's Reckless Laughter; Mingus; Shadows and Light (Live)Pat Metheny – Bright Size LifeMichel Colombier – Michel Colombier



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    Jaco Pastorius may well have been the last jazz musician of the 20th century to have made a major impact on the musical world at large. everywhere you go,sometimes it seems like a dozen times a day, in the most unlikely places you hear jaco's sound; from the latest tv commercial to bass players of all stripes copping his licks on recordings of all styles, from news broadcasts to famous rock and roll bands, from hip hop samples to personal tribute records, you hear the echoes of that unmistakable sound everywhere.


    (it may even be more imitated at this point than the previously most pervasive jazz sound to escape into the broader culture beyond the local borders of jazz, the moody harmon mute stylings of miles davis). for all the caterwauling that has gone on about new musicians that have shown up in recent years being toted as the "next miles", or the "duke ellington of their generation", or whatever, jaco outranks all of them and all of that by being the one and the only of his kind, without predecessor; the only post 1970 jazz musician known on a first name basis with all music fans of all varieties everywhere in the world. from the depths of africa where he is revered in almost god-like status to the halls of most every music university on the planet. to this day, and maybe more than ever, he remains the one and the only JACO.
    and how odd it is to see this era of historical revisionism in jazz how this accomplishment is often relegated by people who should know better as being "not jazz" or as "fusion" (possibly the single most ignorant and damaging term ever invented to describe (discount) an important and vital branch of the jazz music tree). jaco at his best, as on this record, defines what the word jazz really means. jaco used his own experiences filtered through an almost unbelievable originality informed by a musicianship as audacious as it was expansive, to manifest into sound through improvisation a musical reality that illuminated his individuality. and besides all that, he simply played his ass off - in a way that was totally unprecedented on his instrument, or on ANY instrument for that matter.
    because jaco's thing has been so fully assimilated into the culture and the musical vocabulary of our time, i notice that it is difficult for people who weren't around at the time of his emergence to fully weigh the impact of his contribution. as a young musician who met jaco in his prime when we were both just starting out, i can only say that my reaction upon hearing him for the first time (with ira sullivan in miami, florida in 1972) was simply one of shock - i had literally never heard anything remotely like it, nor had anyone else around at the time. and yes, as is so often noted in his case, the way he was playing was unprecedented in technical terms, but that wasn't what made it so stunningly appealing to me. there was a humanity to jaco's thing, built into those relentless grooves was that rare quality that only the most advanced jazz musicians seem to be able to conjure up - with jaco, you were hearing the sound of a time, of an entire generation at work, on the move.
    our musical relationship was immediate. we recognized in each other a kind of impatience with the status quo of our respective instruments and jazz in general and found an instantaneous rapport from the first notes we played together. we also became really good friends. during the short time that i lived in miami (near jaco's hometown of ft. lauderdale), we played show gigs together and occasionally played at his house (he was living on top of a laundromat at the time) and spent a lot of time just talking about music, much of it about how intensely we both disliked the so-called jazz/rock of the time. ( how ironic that we are both now associated (inaccurately) with that movement). shortly after we met, i wound up moving to boston to join gary burton's quartet. during this period, jaco and i spent time working together in new york with pianist paul bley and began a trio that lasted for several years with drummer bob moses (that group later went on to record what became my first record "bright size life".)
    in the middle of this period jaco recorded this album. when jaco got word that herbie hancock (a major hero of both of ours) had agreed to participate, i think his already inspired vision of what he could be as a musician and what he could do with this record in particular went to a whole other level. listening again to this record, and the way that he and herbie hook up on the original and the alternate takes of "used to be a cha-cha" we are hearing improvised music at it's highest level - but with a difference. jaco restructured the function of the bass in music in a way that has affected the outcome of countless musical projects to follow in his wake - an innovation that is still being absorbed by rhythm section players to this day - he showed the world that there was an entirely different way to think of the bass function, and what it meant. for this alone, jaco would earn a major place in the pantheon of jazz history. but, of course, there was so much more.
    his solo on 'donna lee', beyond being astounding for just the fact that it was played with a hornlike phrasing that was previously unknown to the bass guitar is even more notable for being one of the freshest looks at how to play on a well traveled set of chord changes in recent jazz history - not to mention that it's just about the hippest start to a debut album in the history of recorded music. that solo, along with his best compositions like "continuum" reveal a melodic ingenuity (that rarest and hardest to quantify of musical qualities amongst improvisors) that comes along only a few times in each generation. and then there is just his basic relationship to sound and touch; refined to a degree that some would have thought impossible on an "electric" instrument.
    jaco's legacy has had a rough go of it - a horribly inaccurate, botched biography, endless cassette bootlegs of late-life gigs that do nothing but devalue the importance of his message through greed and overkill, and a mythology that seems to thrive on the stories that surrounded the lesser aspects of his lifestyle over the triumphs of his early musical vision and wisdom.
    but you know what? you put this record on, and none of that matters. it is all here, in the grooves; everything you need to know about the guy. jaco pastorius was one of the most important musicians of our time - the fact that this was his first record is simply astonishing, there is no other way to put it. that this is without question the most auspicious debut album of the past quarter century is inarguable. as with all great recordings, the force of it's value becomes more evident as time passes.Explore Jaco's Music

    Albumok :

    Black Market (1976)
    Jaco Pastorius - Black Market1.Black Market 
    2.Cannon Ball 
    3.Gibraltar 
    4.Elegant People 
    5.Three Clowns 
    6.Barbary Coast 
    7.Herandau 
    Heavy Weater (1977)
    Jaco Pastorius - Heavy Weater1.Birdland 
    2.A Remark you made 
    3.Teen town 
    4.Harlequin 
    5.Rumbá mama 
    6.Palladium 
    7.The Juggler 
    8.Havona 
    Mr. Gone (1978)
    Jaco Pastorius - Mr. Gone1.The pursuit of the woman the feathered had 
    2.River People 
    3.Young and fine 
    4.The elders 
    5.Mr Gone 
    6.Punk Jazz 
    7.Pinocchio 
    8.And then 

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    Doom-Lord
    Doom-Lord
    2011.01.31. 21:31:41
    Csatlakozzatok a Hivatalos FaceBook oldalhoz!!! :)

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